Recently in Performances
Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.
R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?
A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.
It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.
San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.
In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
13 Dec 2004
Elektra at the Oper Duisburg
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: