“Man is an abyss. It makes one dizzy to look into it.” So utters Georg Büchner’s Woyzeck, repeating what was also a recurring motif in the playwright’s own letters.
National Opera Company of the Rhine has marked this year’s Benjamin Britten celebration with a remarkably compelling, often gripping new production of the seldom-seen Owen Wingrave.
Once upon a time, Frankfurt Opera had the baddest ass reputation in Germany as “the” cutting edge producer of must-see opera.
Productions of Giuseppe Verdi’s Rigoletto can serve as a vehicle for individual singers to make a strong impression and become afterward associated with specific roles in the opera.
Just in case we were not aware that the evening’s programme was ‘themed’, the Britten Sinfonia designed a visual accompaniment to their musical exploration of night, sleep and dreams.
Poor Aida! She never seems to have anything go her way.
Is it possible to upstage Jonas Kaufmann? Kaufmann was brilliant in this Verdi Don Carlo at the Royal Opera House, London, but the rest of the cast was so good that he was but first among equals. Don Carlo is a vehicle for stars, but this time the stars were everyone on stage and in the pit. Even the solo arias, glorious as they are, grow organically out of perfect ensemble. This was a performance that brought out the true beauty of Verdi's music.
The big names were absent: Duparc, D’Indy, Debussy, Ravel … and while Fauré, Chausson, Roussel and several members of Les Six put in an appearance, in less than familiar guises, this survey of French song of the early 20th century and interwar years deliberately took us on a journey through infrequently travelled terrain.
Composed between 1718 and 1720, Handel’s Esther is sometimes described as the ‘first English Oratorio’, but is in fact a hybrid form, mixing elements of oratorio, masque, pastoral and opera.
Hector Berlioz's légende dramatique, La Damnation de Faust, exists somewhere between cantata and opera. Berlioz's flexible attitude to dramatic form made the piece unworkable on the stages of early 19th century Paris and his music is so vivid that you wonder whether the piece needs staging at all.
St. John’s Smith Square was the site of Elizabeth Connell’s final London concert, intended as a farewell to London on her moving to Australia. It was rendered ultimately final by her unexpected death.
With the building of the Suez Canal, Egypt became more interesting to Western Europeans. Khedive Ismail Pasha wanted a hymn by Verdi for the opening of a new opera house in Cairo, but the composer said he did not write occasional pieces.
Back for its fourth revival, David McVicar’s 2003 production of Mozart’s Die Zauberflöte has much charm, beauty and artistry.
Wolfgang Amadeus Mozart's opera The Marriage of Figaro has a libretto by Lorenzo daPonte based on the French play La folle journée, ou le Mariage de Figaro (The Crazy Day or the Marriage of Figaro) by Pierre Caron de Beaumarchais (1732-1799).
For its world class Easter Festival, Baden-Baden mounted a Die Zauberflöte that owed more to the grey penitential doldrums of Lent than to the unbridled jubilance of re-birth.
Once Berkeley Opera, renamed West Edge Opera, this enterprising company offers the Bay Area’s only serious alternative to corporate opera, to wit Bonjour M. Gauguin.
In the first of pianist Julius Drake’s three-part series, ‘Perspectives’, our gaze was directed at Gustav Mahler’s eclectic musical responses to human experiences: from the trauma and distress of anguished love to the sweet contentment of true friendship, from the agonised introspection of the artist to the diverse dramas of human interaction.
The Los Angeles opera company marketed its spring production of Rossini's La Cenerentola as Cinderella though there is no opera by that name. The libretto of La Cenerentola is not the Cinderella story we know.
The Paris Opéra has not staged a full Ring Cycle since 1957, but its current season will conclude with a correction of this grand operatic gap.
Washington National’s 2012-2013 season continues this spring with a production of Giacomo Puccini’s first successful opera.
CRITIC'S PICK | ANNE MIDGETTE A Star to Shed Light on Janacek's Bleak Operatic Landscape OPINIONS may differ as to what constitutes a highlight at the Metropolitan Opera these days, but few disagreed last season about Karita Mattila's performance as...
CRITIC'S PICK | ANNE MIDGETTE
A Star to Shed Light on Janacek's Bleak Operatic Landscape
OPINIONS may differ as to what constitutes a highlight at the Metropolitan Opera these days, but few disagreed last season about Karita Mattila's performance as Strauss's Salome, a tour de force of singing and acting.
Though not offering Ms. Mattila a new production this season, the Met is giving her something just as good: the title role in a revival of "Katya Kabanova," by Leos Janacek (opening Dec. 17 and closing on New Year's Day). While Janacek's operas are becoming more widely performed and acknowledged as the masterpieces they are (not least because titles enable audiences to understand them), they are still not done as often as they deserve to be. The Met had never presented "Katya Kabanova" before it introduced the current staging, by Jonathan Miller, in 1991.