Recently in Performances
‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.
A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walküre.
If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.
Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
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.
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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