Recently in Performances
Los Angeles Opera's new production of Wolfgang Amadeus Mozart's The Magic Flute opened on November 23, 2013. Brought here from the Komische Oper in Berlin where it premiered last year, the production is a multimedia rendition in the style of the British theater group 1927.
As part of this year’s tribute to Benjamin Britten the Chicago Symphony Orchestra, Chorus, and soloists recently gave several performances of the composer’s War Requiem.
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.
One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).
At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.
08 Jan 2005
Verlaine and Rimbaud in Boston
'Verlaine and Rimbaud' has the poetry but not the passion By Richard Dyer, Globe Staff | January 8, 2005 Intermezzo: The New England Chamber Opera Series adventurously alternates standard 20th-century chamber operas with new works. The company opened its third...
'Verlaine and Rimbaud' has the poetry but not the passion
By Richard Dyer, Globe Staff | January 8, 2005
Intermezzo: The New England Chamber Opera Series adventurously alternates standard 20th-century chamber operas with new works. The company opened its third season last night with its sixth world premiere, "Verlaine and Rimbaud" by David Paul Gibson.
In brief pre-performance remarks Gibson referred to his 15-year friendship with baritone John Whittlesey, founder and artistic director of the company, and thanked him for the opportunity to experience his own music in performance -- "now I can take it home and work some more on it." Let us hope he does, because the piece does need work, but it also has something going for it beyond the sensational subject matter, the erotic and artistic relationship between the established poet Paul Verlaine and Arthur Rimbaud, the rebel genius 10 years his junior.
Eighteen brief, pivotal scenes adding up to about an hour chart the emotional temperature. The libretto, Gibson's own, alternates exposition with settings of poems by the pair in new English translations. The exposition is elementary and sometimes pretentious (Rimbaud's poetry, Verlaine's wife sings, is a pearl produced by "a cancerous oyster"). And there is way too much of it -- the text treats this complex symbiotic relationship in shorthand terms reminiscent of "The Owl and the Pussycat." The poems, and their settings, are effective and even eloquent, and Gibson skillfully moves among recitative, aria, and ensemble in a conservative musical style influenced by Britten and, appropriately, French composers. But the piece needs to be longer, to probe deeper. Too much of it advances at the same tempo and emotional pitch; it lacks variety and real passion. The accompaniment is scored for piano and violin; the violin is occasionally intrusive, like a gypsy bearing down on your table in a restaurant, something you probably wouldn't feel if the composer were to rescore for a slightly larger ensemble.
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