Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.