Recently in Performances
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
03 Dec 2004
Praises for Rodelinda at the Met
Review: 'Rodelinda' at Met Is Masterpiece MIKE SILVERMAN Associated Press NEW YORK - George Frideric Handel's "Rodelinda" was a huge success at its London premiere in 1725, but it soon vanished from the stage and - like the composer's three...
Review: 'Rodelinda' at Met Is Masterpiece
NEW YORK - George Frideric Handel's "Rodelinda" was a huge success at its London premiere in 1725, but it soon vanished from the stage and - like the composer's three dozen other operas - languished unperformed for nearly 200 years.
Lovely music, went the prevailing assessment, but basically just a long string of arias with no dramatic coherence.
Yet today, "Rodelinda" is recognized as a masterpiece that can enthrall a modern audience if it's cast with first-rate singers and presented in a lively production. Both requirements are met handsomely in the production that premiered Thursday at the Metropolitan Opera, starring soprano Renee Fleming in the title role and directed by Stephen Wadsworth.
Adapting their plot from an obscure eighth-century history, Handel and his librettist streamlined the story to focus on Rodelinda, queen of Milan, and her husband, King Bertarido, who has been overthrown by the tyrant Grimoaldo. When the opera begins, Bertarido is believed dead, and Grimoaldo is plotting to marry Rodelinda, but it turns out the deposed monarch is alive and hoping to reunite with his wife and young son. A subplot involves the king's sister, Eduige, and a villainous court counselor, Garibaldo.
It's true that the opera consists almost entirely of solo arias (28 of them, plus one duet and a final ensemble). But Handel builds the dramatic tension so skillfully that the emotional stakes keep rising during each of the three acts until the happy resolution brings a genuine sense of rejoicing.
Fleming, one of today's operatic superstars, has tackled a diverse repertory at the Met, triumphing in Strauss, Mozart and Verdi, but having less success in Bellini's bel canto relic "Il Pirata." As Rodelinda, she sang with commitment and attention to detail, though her soft-grained voice took awhile to warm up. She hit her stride in Act 2 with a ravishing performance of the aria "Ritorna, o caro" as she awaited her reunion with Bertarido (countertenor David Daniels) then joined him in a meltingly beautiful account of the duet that closes the act before he is led off to prison.
Daniels sang with fire and admirable dexterity throughout the evening, though his middle register at times sounded underpowered. Another bravura countertenor, Bejun Mehta, sang the supporting role of Unulfo, Bertarido's ally in the court. Mezzo Stephanie Blythe was magnificent in her few opportunities to shine as Eduige; as Grimoaldo, South African tenor Kobe van Rensburg made a strong debut, with a voice of modest size but unforced flexibility. Bass John Relyea was compelling as Garibaldo and gets extra points for singing while mounting and riding off on a horse.
[Click here for remainder of article (free registration required).]