By Stephen Jay-Taylor [Opera Britannia, 4 November 2013]
If things had gone according to plan, this would have been the second outing for Berlioz’s trail-blazing “dramatic legend” given by a major London orchestra at the start of the 2013/14 concert season.
[Gramophone, 29 October 2013]
The conductor relinquishes his post as music director in 2015 following unconfirmed reports that Riccardo Chailly will succeed him
By Dean Southern [Classical Singer, November 2013]
On a July morning, in the beautiful Klimt-inspired Jugdenstil breakfast room of the Hotel Wiesler in Graz, Austria, I sat with Kammersängerin Christa Ludwig, one of the most notable vocal artists of the last half of the 20th century. Ludwig’s long and celebrated career encompassed both mezzo-soprano and dramatic soprano roles, as well as concert and Lieder performances, all of which are richly documented in her extensive discography.
By José Mª Irurzun [Seen & Heard International, 24 October 2013]
Attending the world premiere of an opera is always a special occasion, and even more so if it is the first opera by its composer. If one adds to all this the fact that the venue is the Theater an der Wien, whose history is filled with premieres of musical masterpieces, the cup of interest cannot be more full of curiosity and expectations.
[Alex Ross: The Rest Is Noise, 25 October 2013]
Angela Meade and Jamie Barton both delivered tremendous performances in last night's Norma at the Met, causing some old-school pandemonium in the house. Meade sang with a degree of dramatic involvement that I hadn't yet seen from this greatly gifted soprano.
By John Yohalem [Parterre Box, 26 October 2013]
Baden-Baden 1927 is the title Gotham Chamber Opera has given to its evening of four brief operas that premiered together at a festival in, yes, Baden-Baden on July 17, 1927.
San Francisco Classical Voice
Greer Grimsley returns to San Francisco Opera this week to sing the title role of The Flying Dutchman. Grimsley, a bass-baritone who made his company debut in 2002 as Scarpia in Tosca, returned as Monterone in the company’s 2006 Rigoletto and as Jokanaan in the 2009 Salome.
Prima La Musica [7 October 2013]
Read about the concert here, and about Stuart's reasons for making it happen here. If you've already booked, then I salute you! If you haven't, and you're in London and free this Thursday, this is my shameless attempt to change your plans.
Likely Impossibilitiess [13 October 2013]
I went to see Norma at the Met on Thursday in part because, I confess, I had never seen Norma.
Opera Chic [23 October 2013]
It wouldn't be La Scala without cries of dissension, but when Corriere della Sera last week outed Riccardo Chailly as La Scala's incoming MD (for an outward-bound Barneboim), the orchestra's grumbles out-grumbled everyone.
This is a part of the series of lectures and concerts, European Capitals of Music. Famous musical capitals provide the framework for this series of lectures with live music.
[The Telegraph, 15 April 2013]
Sir Colin Davis, who has died aged 85, was one of the grand and cerebral orchestral conductors of the English tradition. He inherited his baton directly from Sir Thomas Beecham and, regardless of fashion or popularity, stuck resolutely to understated elegance both on and off the concert platform.
Opera Europa - RESEO Spring Conference/Vienna [4 April 2013]
A strong statement for the support of culture was delivered by European Commission President José Manuel Barroso at the Opera Europa - RESEO Spring Conference at the Vienna State Opera. In a speech opening the conference, he declared that “Culture is the cement that binds Europe together.” He spoke of his particular affection for opera: “Opera is the illustration par excellence of the long dialogue between European cultures across national boundaries, across centuries. Opera is Verdi, whose bicentenary we celebrate this year, Verdi, drawing the inspiration for his libretti from Shakespeare, Victor Hugo, Dumas, Schiller or the Duque de Rivas. Opera is the distilled expression of fundamental European values. It is Beethoven’s Fidelio, for instance, giving us a matchless chorus of homage to liberty and fraternity and love.”
By Louise Jury [The Evening Standard, 13 February 2013]
A celebration of opera which aims to bring its biggest stars to a wider audience is announced today.
By Daniel J. Wakin [NY Times, 6 February 2013]
In the impossible search to know exactly what the face of musical genius looked like, researchers in Salzburg, Austria, have made progress. Their subject was Wolfgang Amadeus Mozart, a local boy.
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word. »
The current theme celebrates Richard Wagner's birth 200 years ago. Over the course of the next several weeks, recordings of each of works will be presented, including recordings of live performances when available.