Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

Lisette Oropesa sings at Tucson Desert Song Festival

On January 30, 2018, Arizona Opera and the Tucson Desert Song Festival presented a recital by lyric soprano Lisette Oropesa in the University of Arizona’s Holsclaw Hall. Looking like a high fashion model in her silver trimmed midnight-blue gown, the singer and pianist Michael Borowitz began their program with Pablo Luna’s Zarzuela aria, “De España Vengo.” (“I come from Spain”).

Schubert songs, part-songs and fragments: three young singers at the Wigmore Hall

Youth met experience for this penultimate instalment of the Wigmore Hall’s Schubert: The Complete Songs series, and the results were harmonious and happy. British soprano Harriet Burns, German tenor Ferdinand Keller and American baritone Harrison Hintzsche were supportively partnered by lieder ‘old-hand’, Graham Johnson, and we heard some well-known and less familiar songs in this warmly appreciated early-afternoon recital.

Brent Opera: Nabucco

Brent Opera’s Nabucco was a triumph in that it worked as a piece of music theatre against some odds, and was a good evening out.

LPO: Das Rheingold

It is, of course, quite an achievement in itself for a symphony orchestra to perform Das Rheingold or indeed any of the Ring dramas. It does not happen very often, not nearly so often as it should; for given Wagner’s crucial musico-historical position, this is music that should stand at the very centre of their repertoires – just as Beethoven should at the centre of opera orchestras’.

William Tell in Palermo

This was the infamous production that was booed to extinction at Covent Garden. Palermo’s Teatro Massimo now owns the production.

The Bandits in Rome

AKA I masnadieri, rare early Verdi, though not as rare as Alzira. In 1847 London’s Her Majesty’s Theatre  commissioned the newly famous Verdi to write this opera for the London debut of Swedish soprano Jenny Lind.

Utah’s New Moby Dick Sets Sail

It is cause for celebration that Jake Heggie and Gene Scheer’s epic Moby Dick has been realized in a handsome new physical production by Utah Opera.

OPERA TODAY ARCHIVES »

Performances

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

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.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):