Recently in Performances
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.
Most opera professionals, including the individuals who do the casting for
major houses, despair of finding performers who can match historical standards
of singing in operas such as Aïda. Yet a concert performance in Aspen
gives a glimmer of hope. It was led by four younger singers who may be part of
the future of Verdi singing in America and the world.
One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.
Three years ago I made what may have been my single worst decision in a half
century of attending opera. I wasn’t paying close attention when some
conference organizers in Aix-en-Provence offered me two tickets to the premiere
of a new opera. I opted instead for what seemed like a sure thing:
William Christie conducting some Charpentier.
Advertised in the program as the first opera written in the New World,
La Púrpura de la Rosa (PR) was premiered in 1701 in Lima
(Peru), but more than the historical feat, true or not, accounts for the
The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.
Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.
As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.
Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.
Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.
That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.
Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.
This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.
John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.
On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.
Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.
It might seem churlish to complain about the BBC Proms coverage of Pierre
Boulez’s 90th anniversary. After all, there are a few performances
dotted around — although some seem rather oddly programmed, as if embarrassed
at the presence of new or newish music. (That could certainly not be claimed in
the present case.)
10 Dec 2004
A Month in the Country
We previously reported on the Manhattan School of Music production of Lee Hoiby's A Month in the Country. Here is Anne Midgette's review. A Russian Play, Reimagined by an American Composer By ANNE MIDGETTE "We've lost a few people," said...
We previously reported on the Manhattan School of Music production of Lee Hoiby's A Month in the Country. Here is Anne Midgette's review.
A Russian Play, Reimagined by an American Composer
By ANNE MIDGETTE
"We've lost a few people," said a woman in the audience, surveying a few empty seats after the intermission of Lee Hoiby's opera "A Month in the Country," which opened at the Manhattan School of Music on Wednesday night. "And I don't know why. It's so beautiful."
We have lost a few people. Or rather, we've lost a few operas. Mr. Hoiby was once a rising star over the American opera landscape. But you don't see his work anymore at, say, the New York City Opera, where "A Month in the Country" (originally titled "Natalia Petrovna," and based on the play by Turgenev) had its premiere in 1964. And that's a shame, because "A Month in the Country" is a wonderful opera.
You could perhaps carp that Mr. Hoiby's music is conservative, tonal and breaks little new ground, but I was too busy being engrossed by it, and by the opera's psychological insight and grateful vocal writing, both equally rare. It didn't hurt that the Manhattan School of Music cast it strikingly well and gave it a fine production by Ned Canty (down to Elizabeth Hope Clancy's period costumes).
Every part here had something to offer. The lead role of Natalia, a beautiful, bored aristocrat who falls in love with her niece's tutor, is huge and demanding; JennyRebecca Winans showed a lovely, smooth voice that matched her poise, and if she lost some steam in places, it's hard to think of a singer who wouldn't. As the tutor, Liam Bonner had a big, impressive baritone that was slightly raw and unpolished (perfectly fitting the character); as the niece, Vera, Yoosun Park was a bit challenged by the upper register.
[Click here for remainder of article.]