Recently in Performances
Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.
Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.
For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.
O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.
Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.
On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.
John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.
Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.
After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
second city of Novi Sad on 27th October would be transplanted from
6th century BC Babylon to post-Saddam Hussein Tikrit or some
bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
27 Nov 2004
Eugene Onegin at SFO
Soaring Opera hits new heights in Tchaikovsky's 'Eugene Onegin' Joshua Kosman, Chronicle Music Critic Friday, November 26, 2004 Tchaikovsky's "Eugene Onegin" is a story of strong emotion accommodating itself, painfully but with resigned acceptance, to external reality. Dreams of romantic...
Soaring Opera hits new heights in Tchaikovsky's 'Eugene Onegin'
Joshua Kosman, Chronicle Music Critic
Friday, November 26, 2004
Tchaikovsky's "Eugene Onegin" is a story of strong emotion accommodating itself, painfully but with resigned acceptance, to external reality. Dreams of romantic love prove untenable, or merely mistimed; passionate friendship is fatally betrayed in a thoughtless instant.
The ache of that clash courses through the San Francisco Opera's superlative new production of the piece, which opened Wednesday at the War Memorial Opera House.
Boasting a first-rate cast and the most affectingly restrained work the company has yet offered from director Johannes Schaaf, this sumptuous and precisely etched production crowns a fall season that has truly been something close to miraculous -- the most consistently excellent lineup the company has assembled in many years.
One only has to think back to the drab and proudly unimaginative production that the company last offered in 1997 to grasp how far things have come. In this "Onegin," vocal splendor and theatrical resourcefulness work together at last to create a vividly compelling musical drama.
And Tchaikovsky's adaptation of Pushkin's novel in verse requires just such sensitivity to nuance on everyone's part. The plot, taken in isolation, traces a fitful and inconclusive path; what matters is the realistic musical exploration of the characters' inner lives, the tug of naive idealism against the forces of the external world.
[Click here for remainder of article.]
A Captain — Ricardo Herrera
Filipyevna — Annett Andriesen
Madame Larina — Susan Gorton
Monsieur Triquet — John Duykers
Prince Gremin — Gustav Andreassen
Eugene Onegin — Russell Braun
Tatyana — Elena Prokina
Olga — Allyson McHardy
Lensky — Piotr Beczala