Recently in Performances
Verdi Un ballo in maschera at the Royal Opera House - a masked ball in every sense, where nothing is quite what it seems. On the surface, this new production appears quaint and undemanding. It uses painted flats, for example, pulled back and forth across, as in toy theatre. The scenes painted on them are vaguely generic, depicting neither Boston nor Stockholm, where the tale supposedly takes place. Instead, we focus on Verdi, and on theatre practices of the past. In other words, opera as the art of illusion, not an attempt to replicate reality. Take this production too literally and you'll miss the wit and intelligence behind it.
Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.
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For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.
O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.
Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.
On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.
John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.
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After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
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6th century BC Babylon to post-Saddam Hussein Tikrit or some
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This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
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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