‘Beauty is the one form of spirituality that we experience through the senses.’ In Thomas Mann’s, Death in Venice, Plato’s axiom stirs the hopes of the aging, intellectually stale poet, Gustav von Aschenbach, that he may rekindle his creativity.
There is a sense in which it all began in London, Puccini having been seized in 1900 with the idea of an opera on this subject after watching David Belasco’s play here.
The tenor that the audience most wanted to hear, Plácido Domingo, opened the vocal program with “Junto al puente de la peña” (Next to the rock bridge) from La Canción del Olvido (The song of Oblivion) by José Serrano. He sounded rested and his voice soared majestically over the orchestra.
Tucked away somewhere in the San Francisco Opera warehouse was an old John Cox production of Così fan tutte from Monte Carlo. Well, not that old by current standards at San Francisco Opera.
Rossini's Maometto Secondo is a major coup for Garsington Opera at Wormsley, confirming its status as the leading specialist Rossini house in Britain. Maometto Secondo is a masterpiece, yet rarely performed because it's formidably difficult to sing. It's a saga with some of the most intense music Rossini ever wrote, expressing a drama so powerful that one can understand why early audiences needed "happy endings" to water down its impact
I suppose it was inevitable that, in this Britten Centenary year, the 66th Aldeburgh Festival would open with Peter Grimes.
Die Entführung aus dem Serail at Garsington Opera at Wormsley isn’t Mozart as you’d expect but it’s true to the spirit of Mozart who loved witty, madcap japes.
What a pity! On a glorious — well, by recent English standards — summer’s day, there can be few more beautiful English countryside settings than Glyndebourne, with the added bonus, as alas much of the audience appears to understand it, of an opera house attached.
Described by one critic as “cosmically gifted”, during her tragically short career, American mezzo-soprano Lorraine Hunt Lieberson amazed and delighted audiences with the spellbinding beauty of her singing and the astonishing honesty of her performances.
“I wrote it almost without noticing.” So Verdi declared when reminded of his eighth — and perhaps least frequently performed, opera, Alzira. One might say that, since he composed the work, no-one else has much noticed either.
Just when you thought the protagonist was Hoffmann! Who, rather what stole the show?
When is verismo verily veristic? Or what is a virginal girl dressed in communion white doing in the two murderous acts of the Los Angeles Opera’s current production of Tosca? And why does she sing the shepherd's song?
Wagner’s Lohengrin is not an unfamiliar visitor to the UK thanks, in the main, to Elijah Moshinsky’s perennial production at Covent Garden.
Philip Glass's The Perfect American at the ENO in London is a visual treat, but the libretto is mind-numbingly anodyne.
Jonathan Dove's Mansfield Park, with libretto by his regular collaborator Alasdair Middleton, has the remarkable distinction of being the first completed operatic adaptation of any Jane Austen novel to be staged.
London’s two principal opera companies have offered a baffling near-silence as their response to Wagner’s two-hundredth anniversary.
If a recent trio of musically superlative performances at Canadian Opera Company is indicative of their norm, the casting director should get a hefty bonus.
Just when you imagine you’ve got the operatic time-line fixed in your mind in a clean sweep of what goes where and when and how, you hear another work from another forgotten corner of the repertory that upends one’s conclusions.
Nothing inspires fable quite like defeat. The great riddle of Spanish history is how the Christian Visigoths managed to lose the Iberian peninsula to the Moors in one small battle in 711 and took eight hundred years to get it back.
Take a pair of peripatetic, sharp witted, libidinous dramatists with deeply humanist hearts, add a brilliant, fun loving young composer, who believed in forgiveness, and you end up with The Marriage of Figaro, a comic, always relevant opera, which the Los Angeles Philharmonic Orchestra presented in Disney Hall, as part of its Mozart/DaPonte series.
Elektra in der Oper Duisburg: Ein Leben für den Tod Rheinoper: In Duisburg zeigen Stein Winge und Johannes Schütz Richard Strauss` "Elektra" in einer Welt, die Kopf steht. Duisburg. Alles ist erfüllt von den Abwesenden. An die Wände hängt Elektra,...
Elektra in der Oper Duisburg: Ein Leben für den Tod
Rheinoper: In Duisburg zeigen Stein Winge und Johannes Schütz Richard Strauss` "Elektra" in einer Welt, die Kopf steht.
Duisburg. Alles ist erfüllt von den Abwesenden. An die Wände hängt Elektra, die von dem Mörderpaar Klytämnestra und Aegisth verstossene Königstochter, die fotokopierten Bildnisse eines Mannes wie Vermisstenanzeigen und Suchbilder. Wird wenigstens der Bruder Orest noch aus dem Krieg heimkehren, wenn schon der Vater heimtückisch ermordet wurde?
Für Elektras Wahrnehmung ist das Unrecht zum normalen Alltag geworden, eine verkehrte Welt, die Kopf steht. Und so sieht es im Bühnenbild von Johannes Schütz der "Elektra" auch aus, die die Düsseldorfer Rheinoper am Samstag in Duisburg herausbrachte. Welch eine grandiose Inszenierung, mit der Schütz und Regisseur Stein Winge uns wieder einmal beschenken!
Denn aller Ablauf ist von bezwingender Stringenz, und John Fiore gelingt mit den erneut brillanten Duisburger Philharmonikern eine vorzüglich differenzierende Interpretation. Das ist so selbstverständlich nicht, ist doch die nach der "Salome" modernste Oper von Richard Strauss mit dem Libretto von Hugo von Hofmannsthal (nach Sophokles), uraufgeführt 1909 am Königlichen Opernhaus Dresden, bis heute von verstörend wuchtiger, düsterer Strenge und zugleich betörend sensibler Schönheit.
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Elektra with Eva Marton:
