Recently in Performances
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on
Friday night was the latest in the Coliseum’s recent run of new and
co-produced productions, and also renowned director Peter Jones’ latest foray
into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the
same arts festival in Coventry for which Britten’s War Requiem was
written and in fact the two works have something in common, dealing with the
issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s
Die Fledermaus several debuts are notable to both American and Chicago
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera
House risks laying the house’s Director of Opera open to charges of
antiquated mores and misogyny: for he seems to suggest that the women are just
as bad, if not worse, than their seducer — and that a soulful man who seeks
genuine love is likely to find his ‘ideal beloved’ forever out of reach.
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
If satire is your thing you will not want to miss this opera about human testicles grafted onto a dog.
20 Mar 2005
Giordano's Andrea Chenier in Glasgow
IN this splendid concert version of Giordano’s most widely performed opera, Sir Richard Armstrong, the orchestra and chorus of Scottish Opera and an outstanding team of soloists provided some of the best moments of operatic verismo I have heard in an age.
Andrea Chenier, Glasgow Royal Concert Hall
CONRAD WILSON [The Herald, 16 Mar 05]
GIORDANO'S advice to aspiring Italian composers was simple. "Find a good song and then build an opera around it," he told them. In his own Andrea Chenier, he proved his point. It may not be nineteenth-century Italy's greatest opera, but it does contain a good song. Indeed, it contains more than that. Luigi Illica, Puccini's favourite librettist, wrote the words. The French Revolution provides an inspirational context. The doomed lovers give it romantic focus. There is a passionate, complex villain who repents too late. The secondary roles are clearly etched, and the chorus is allotted some stirring music.
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Fact and fiction in glorious collision
Live Classical By Frank Carroll [The Herald, 20 Mar 05]
IN this splendid concert version of Giordano's most widely performed opera, Sir Richard Armstrong, the orchestra and chorus of Scottish Opera and an outstanding team of soloists provided some of the best moments of operatic verismo I have heard in an age.
A concert performance of a late 19th century grand opera may seem a bit of a contradiction in terms, but the torrid intensity of Giordano's score was played and sung with such commitment that as the drama developed, sets, lighting and costumes in the end were hardly missed, while the music itself was heard in perhaps a more concentrated, closely focused form. It is quite remarkable that the members of the chorus (who are soon to lose their jobs), can sing at all, let alone muster so much enthusiasm for their work.
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