Recently in Performances
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on
Friday night was the latest in the Coliseum’s recent run of new and
co-produced productions, and also renowned director Peter Jones’ latest foray
into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the
same arts festival in Coventry for which Britten’s War Requiem was
written and in fact the two works have something in common, dealing with the
issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s
Die Fledermaus several debuts are notable to both American and Chicago
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera
House risks laying the house’s Director of Opera open to charges of
antiquated mores and misogyny: for he seems to suggest that the women are just
as bad, if not worse, than their seducer — and that a soulful man who seeks
genuine love is likely to find his ‘ideal beloved’ forever out of reach.
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
If satire is your thing you will not want to miss this opera about human testicles grafted onto a dog.
19 Nov 2004
Tosca at Graz
Boris Trajanov, Evan Bowers and Marquita Lister Opernhaus Graz's new production of Tosca is a hit. According to Larry Lash of the Financial Times, A stage direction in my score of Tosca has Scarpia making a cup of coffee...
Boris Trajanov, Evan Bowers and Marquita Lister
Opernhaus Graz's new production of Tosca is a hit. According to Larry Lash of the Financial Times,
A stage direction in my score of Tosca has Scarpia making a cup of coffee during the heroine's big number, "Vissi d'arte". In Dietmar Pflegerl's updated staging, Scarpia, a pony-tailed metrosexual, skips the cappuccino: he puts down his crystal rioja goblet, tends to some silver candlesticks, dims the lights in his elegantly minimalist office and spreads a fur in front of the fireplace in anticipation of doing the nasty, as the diva pours out her heart to her punishing God. Things in Rome sure have changed since 1800.
Pflegerl's genius lies in such moments when he pointedly illuminates characters' emotions. Whether it be Cavaradossi hugging a quivering political prisoner, Scarpia enjoying a manicure or Tosca groping her lover and then shimmying out of the church, these simple gestures contrast with the big shockers in perhaps the least subtle opera ever written.
Marquita Lister as Tosca "has a voice like a cup of rich, hot cocoa: luscious, dark, thick and bittersweet. . . . Evan Bowers's velvet trumpet tenor, meltingly gorgeous with tender phrasing, perfectly fitted his heroic, nice-guy Cavaradossi. Complex, seductive and sardonic, Boris Trajanov brought unexpected nuances to Scarpia, unleashing tones as dark as a bottomless pit and blazing top notes."
Floria Tosca — Marquita Lister
Mario Cavaradossi — Evan Bowers
Baron Scarpia — Boris Trajanov; Egils Silins
Cesare Angelotti — Wilfried Zelinka
Spoletta — Manuel von Senden; Andries Cloete
Der Messner — David McShane
Sciarrone — Shavleg Macharashvili; István Szecsi
Ein Kerkermeister — Konstantin Sfiris; Shavleg Macharashvili
Ein Hirte — Grazer Kapellknabe
Click here for scheduling information and production photos.