By John Yohalem [Parterre Box, 12 December 2014]
A Birnam Wood of Macbeths and Ladys has come traipsing through New York this year. Dell’ Arte Opera staged Verdi’s early masterpiece last Summer, and the Met revived its grandiose production of the work back in the Fall. The Met followed that up with a splendid revival of Shostakovich’s Lady Macbeth of Mtsensk. And now the Manhattan School of Music’s Opera Theater program (through Sunday) is giving performances of Ernest Bloch’s opera of the same (only to be whispered) name.
By Eric Felten [WSJ, 28 November 2014]
In our age of easy playback, it’s hard to imagine how ephemeral music once was.
By John Yohalem [Parterre Box, 22 October 2014]
It was a night a-tingle with excitement at the Metropolitan Opera House. At least part of this lay in never knowing when vocal protests might explode (verbally) somewhere in the auditorium.
By Ari Shapiro [NPR, 12 October 2014]
For more than a century, the Royal Shakespeare Company in England has hired composers to write original music for its productions. That sheet music has sat in a vault for decades — until now.
By John Yohalem [16 September 2014, Parterre Box]
They say that Boston, despite many cultural distinctions, ain’t no opera town, and for some decades—generations?—this has been true. But tides of change will break, even on the shores of the Hub. There is a baroque opera revival, spawned by the Boston Early Music Festival (a Monteverdi trilogy arriving next spring) and leading to hi-jinks at the region’s many schools, and to Boston Baroque, which gives Handel’s Agrippina in April. The somewhat traditional Boston Lyric Opera presents everything from Lizzie Borden (last month) to La Traviata (next month), though confining itself to three or four productions a year.
By Tom Huizenga [NPR Music]
Musicologist and pianist Charles Rosen once quipped: "The death of classical music is perhaps its oldest continuing tradition." But it's tough to see much gloom when faced with the diversity of premieres and provocative programming around the country in the 2014-2015 season.
By Amelia Glaser [2 September 2014, The Calvert Journal]
This year, Russia has revelled in grand demonstrations. If Sochi’s opening ceremony is now a distant memory, the annexation of Crimea has offered a theme for mass spectacle to rival those of the Soviet Union. The Night Wolves motorcycle club (Russia’s Hells Angels) recently hosted their annual bike show in Sevastopol in Crimea, dedicated to the defenders of the fatherland from 1941 to 2014. Poems celebrating Russia’s historical struggle for Crimea were interspersed with black-clad “fascists” dancing to soundbites from Barack Obama and Angela Merkel. President Vladimir Putin sent a greeting; Steven Seagal made an appearance. These larger-than-life images of a triumphant fatherland, venerated leader and glorious history suggested a new return to Socialist Realism, albeit with a post-socialist twist.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close. »