Nicola Luisotti and the San Francisco Opera Orchestra climbed out of the War Memorial pit, braved the wind whipped bay and held spellbound an audience at Cal Performances’ Zellerbach Auditorium at UC Berkeley.
Utterly mad but absolutely right — Richard Strauss’s Ariadne auf Naxos started the Glyndebourne 2013 season with an explosion. Strauss could hardly have made his intentions more clear. Ariadne auf Naxos is not “about” Greek myth so much as a satire on art and the way art is made.
“Man is an abyss. It makes one dizzy to look into it.” So utters Georg Büchner’s Woyzeck, repeating what was also a recurring motif in the playwright’s own letters.
National Opera Company of the Rhine has marked this year’s Benjamin Britten celebration with a remarkably compelling, often gripping new production of the seldom-seen Owen Wingrave.
Once upon a time, Frankfurt Opera had the baddest ass reputation in Germany as “the” cutting edge producer of must-see opera.
Productions of Giuseppe Verdi’s Rigoletto can serve as a vehicle for individual singers to make a strong impression and become afterward associated with specific roles in the opera.
Just in case we were not aware that the evening’s programme was ‘themed’, the Britten Sinfonia designed a visual accompaniment to their musical exploration of night, sleep and dreams.
Poor Aida! She never seems to have anything go her way.
Is it possible to upstage Jonas Kaufmann? Kaufmann was brilliant in this Verdi Don Carlo at the Royal Opera House, London, but the rest of the cast was so good that he was but first among equals. Don Carlo is a vehicle for stars, but this time the stars were everyone on stage and in the pit. Even the solo arias, glorious as they are, grow organically out of perfect ensemble. This was a performance that brought out the true beauty of Verdi's music.
The big names were absent: Duparc, D’Indy, Debussy, Ravel … and while Fauré, Chausson, Roussel and several members of Les Six put in an appearance, in less than familiar guises, this survey of French song of the early 20th century and interwar years deliberately took us on a journey through infrequently travelled terrain.
Composed between 1718 and 1720, Handel’s Esther is sometimes described as the ‘first English Oratorio’, but is in fact a hybrid form, mixing elements of oratorio, masque, pastoral and opera.
Hector Berlioz's légende dramatique, La Damnation de Faust, exists somewhere between cantata and opera. Berlioz's flexible attitude to dramatic form made the piece unworkable on the stages of early 19th century Paris and his music is so vivid that you wonder whether the piece needs staging at all.
St. John’s Smith Square was the site of Elizabeth Connell’s final London concert, intended as a farewell to London on her moving to Australia. It was rendered ultimately final by her unexpected death.
With the building of the Suez Canal, Egypt became more interesting to Western Europeans. Khedive Ismail Pasha wanted a hymn by Verdi for the opening of a new opera house in Cairo, but the composer said he did not write occasional pieces.
Back for its fourth revival, David McVicar’s 2003 production of Mozart’s Die Zauberflöte has much charm, beauty and artistry.
Wolfgang Amadeus Mozart's opera The Marriage of Figaro has a libretto by Lorenzo daPonte based on the French play La folle journée, ou le Mariage de Figaro (The Crazy Day or the Marriage of Figaro) by Pierre Caron de Beaumarchais (1732-1799).
For its world class Easter Festival, Baden-Baden mounted a Die Zauberflöte that owed more to the grey penitential doldrums of Lent than to the unbridled jubilance of re-birth.
Once Berkeley Opera, renamed West Edge Opera, this enterprising company offers the Bay Area’s only serious alternative to corporate opera, to wit Bonjour M. Gauguin.
In the first of pianist Julius Drake’s three-part series, ‘Perspectives’, our gaze was directed at Gustav Mahler’s eclectic musical responses to human experiences: from the trauma and distress of anguished love to the sweet contentment of true friendship, from the agonised introspection of the artist to the diverse dramas of human interaction.
The Los Angeles opera company marketed its spring production of Rossini's La Cenerentola as Cinderella though there is no opera by that name. The libretto of La Cenerentola is not the Cinderella story we know.
Falstaff, Opéra du Rhin, Strasbourg By Francis Carlin Published: December 14 2004 15:54 | Last updated: December 14 2004 15:54 The posters dotted around Strasbourg showed a figure trussed up in pillows and mattresses, to add more protuberance to waist...
Falstaff, Opéra du Rhin, Strasbourg
By Francis Carlin
Published: December 14 2004 15:54 | Last updated: December 14 2004 15:54
The posters dotted around Strasbourg showed a figure trussed up in pillows and mattresses, to add more protuberance to waist and buttocks, against a backdrop of titillating see-thru ladies underwear on a line.
It smacked of deconstructionism laced with sauciness but turned out to be much tamer. Giorgio Barberio Corsetti's new production of Verdi's last work wisely sets its sights lower - this is not a work to be tampered with lightly - and still scores a handsome success.
His Falstaff, superbly acted and sung by Alan Opie, is not a 10 ton tubby, with unsightly tufts of hair and bad skin, but a profoundly human figure, the sort of comical, egotistical character that pops up somewhere in every modern family.
To this end, Corsetti has stylishly updated the action to the 1950s. Like all transplants of Falstaff, it doesn't quite work in the final scene: Sir John's terror of witches in Windsor Forest fits awkwardly with the preceding day-glo interiors of a striking cocktail bar and the Ford family's streamlined lounge area.
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Cast information:
Sir John Falstaff — Alan Opie
Bardolfo — Rodolphe Briand
Dr. Cajus — Ricardo Cassinelli
Pistola — Antoine Garcin
Mrs. Meg Page — Isabelle Cals
Mrs. Quickly — Mariana Pentcheva
Nanetta — Laura Giordano
Fenton — Ismael Jordi
Ford — Tommi Hakala
Choeurs de l'Opéra national Du Rhin
Orchestre philharmonique de Strasbourg
Musical director — Carlo Rizzi
Director — Giorgio Barberio Corsetti
Recommended recording:
Verdi: Falstaff / Abbado, Terfel, Pieczonka, Berlin Po, Etc