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On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
Though all big opera is called grand opera, French grand opera itself is a very specific genre. It is an ephemeral style not at all easy to bring to life. For example . . .
15 Oct 2004
Two Reviews of "The Dialogues of the Carmelites"
Unbearably Good Classical Music BY JAY NORDLINGER [New York Sun] October 14, 2004 Is there any opera more shattering than "The Dialogues of the Carmelites," when it's done well? On Tuesday night, City Opera did it well. It was...
BY JAY NORDLINGER [New York Sun]
October 14, 2004
Is there any opera more shattering than "The Dialogues of the Carmelites," when it's done well? On Tuesday night, City Opera did it well. It was almost unbearable - that's how good it was.
"Dialogues," of course, is Francis Poulenc's masterpiece from 1953. It tells the story of nuns who suffer and die - are killed - in the French Revolution. Your high-school teachers and college professors may have been rahrah about this revolution; Poulenc, bless him, was not.
It so happens that, two seasons ago, the Metropolitan Opera performed "Dialogues" unforgettably. In that cast were Patricia Racette, Heidi Grant Murphy, Felicity Palmer, and Stephanie Blythe. (I should throw in Matthew Polenzani, too, to name one man.) Ms. Palmer, in particular, was consummate as the Old Prioress. James Conlon led understandingly from the pit.
City Opera's singers are not as famous as the Met's, but they are far from shamed. In the central role of Blanche is Rinat Shaham, an Israeli mezzo-soprano. She gave just about all one could ask, musically and dramatically. She captured a woman's searching and turbulence - and fear. Always fear, except perhaps in the opera's final moment. Her voice is a little smoky, but not impure. (We can hear Carmen in that voice, even when she is Blanche.) The upper register is vibrant, and the lower one bottled. Ms. Shaham showed a sure technique, featuring intonation and evenness. This was especially gratifying in Poulenc's exposed lines. And she never slopped over his intervals.
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A synopsis of this work may be found here.
Dialogues of the Carmelites, New York City Opera
By Martin Bernheimer [Financial Times]
Published: October 15 2004 03:00 | Last updated: October 15 2004 03:00
Modern opera is not the most popular attraction in cultural Manhattan but Poulenc's Dialogues of the Carmelites has proved to be an encouraging exception. Completed in 1957, this examination of the crisis of faith during the French revolution was first performed here - rather ineptly - by the New York City Opera in 1966.
The mighty Metropolitan followed suit in 1977 with a powerful staging by John Dexter that remains a staple in the big house at Lincoln Center. Now the brave City Opera, next door, has come up with an alternative that sheds its own light.
The best news involves communication. Although Poulenc wanted his philosophies to be articulated in the language of the audience, the Met respected this wish only in the early years. The City Opera, however, reverts to the vernacular.
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