Recently in Performances
Baroque opera has long been an important part of the Bavarian State Opera’s programming. And beyond the company itself, Munich’s tradition stretches back many years indeed: Kubelík’s Handel with the Bavarian Radio Symphony Orchestra, for instance.
All told, this was probably the best Don Giovanni I have seen and heard. Judging opera performances - perhaps we should not be ‘judging’ at all, but let us leave that on one side - is a difficult task: there are so many variables, at least as many as in a play and a concert combined, but then there is the issue of that ‘combination’ too.
Can one justly “review” a streamed performance? Probably not.
But however different or diminished such a performance, one can—and
must—bear witness to such an event when it represents a landmark in the
evolution of an art form.
For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
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.
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