Recently in Performances
It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.
Based on a play, Chrysomania (The Passion for Money), by
the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.
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.