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.
28 Mar 2005
Krassimira Stoyanova at the Rousse Festival
Her occasional home-coming always turns into a music event in her native Bulgaria. This time Krassimira Stoyanova appeared at the Rousse March Music days in a recital including twenty melodies and songs by opera composers: Gounod, Donizetti, Puccini in the first part and Tchaikovsky and Rahmaninov in the second plus two “encores” by Bulgarian composers Dobri Hristov and Liubomir Pipkov. She performed this same recital at Carnegie Hall on January 18, 2005, accompanied by Yelena Kurdina.
Krassimira Stoyanova In Recital At The 45th March Music Days
Rousse, Bulgaria, 24 March 2005
Her occasional home-coming always turns into a music event in her native Bulgaria. This time Krassimira Stoyanova appeared at the Rousse March Music days in a recital including twenty melodies and songs by opera composers: Gounod, Donizetti, Puccini in the first part and Tchaikovsky and Rahmaninov in the second plus two "encores" by Bulgarian composers Dobri Hristov and Liubomir Pipkov. She performed this same recital at Carnegie Hall on January 18, 2005, accompanied by Yelena Kurdina.
French and Italian opera repertoire is the strong point of this fine Bulgarian soprano who, since 1999, has been a regular at the Vienna National opera on which stage Stoyanova can be seen between April 2 and May, 16 in "La Bohème," "Simone Boccanegra," "Falstaff" and "Les Contes d'Hoffman."
Krassimira Stoyanova is a "sparkly" performer who "catches" the audience from the beginning, making it experience all the drama of the works. From the most dramatic fullness of sorrow and despair like Donizetti's "La mère et l'enfant" through Gounod's "A une jeune fille," Tchaikovsky's "Ni slovo, o moi drug," "Snovo kak prezhde, odin" and Rachmaninov's "Poliubila ya pechal svoiu," "Ne poi krassavitsa..." to the radiant "Ma belle rebelle" et "Venise" (Gounod), Puccini's baroque-like "Salve Regina," "Terra e mare," "Storiella d'amore," "Sole e amore" and Rachmaninov's "Vessennie void," Stoyanova suggests all the range of emotions with her moving vibrato, lighter in the French melodies and darker in the rest of the songs, large amplitude and subtlety of singing. Some Russian performers could take lessons from her approach to Tchaikovsky and Rachmaninov: dynamic phrasing, clear diction, observed measure of emotion, sincerity and naturalness, as well as pleasure of singing. Both Donizeti's songs "La Sultana" and "Ah! Rammenta o bella Irene" (genuine arias), Rachmaninov's "Ne poi krassavitsa..." and all five Tchaikovsky's songs were of her best. On the other hand, the variety of the program and, perhaps, because of some problems with the acoustics, some vowels in the French melodies seemed lacking in control of pronunciation.
Both Bulgarian "encores" "Devoiche" by Dobri Hristov and "Lullaby" by Liubomir Pipkov were polar opposites from the point of view of dynamics of phrasing and emotions. The first one was performed with much humor and vitality that thrilled the audience; and the second with great control of the voice and heavenly floated pianissimi.
Maria Prinz was an expressive and careful accompanist who demonstrated a good knowledge of all the three different styles of music, although sometimes her tone sounded a bit loud and hard perhaps due to the peculiarity of the acoustics. Nevertheless, this evening was a great experience for both performers and audience at Rousse, Bulgaria.