Recently in Performances
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
02 Mar 2005
Stravinsky's Les Noces and Oedipus Rex at the Barbican
After opening its brief Barbican residency with Rimsky-Korsakov, the Mariinsky Theatre moved on to less regular territory for the company, with performances of Shostakovich’s The Nose and a Stravinsky double bill. Although the two Stravinsky works – the “choreographic scenes” of Les Noces and the “opera-oratorio” Oedipus Rex — were first performed (both in Paris) just four years apart, in 1923 and 1927 respectively, they belong to different musical worlds, for Les Noces had been conceived much earlier, in the immediate aftermath of The Rite of Spring, and Stravinsky took a decade to perfect its formal shape and scoring.
Les Noces/ Oedipus Rex
Andrew Clements [The Guardian, 28 Feb 05]
After opening its brief Barbican residency with Rimsky-Korsakov, the Mariinsky Theatre moved on to less regular territory for the company, with performances of Shostakovich's The Nose and a Stravinsky double bill. Although the two Stravinsky works — the "choreographic scenes" of Les Noces and the "opera-oratorio" Oedipus Rex — were first performed (both in Paris) just four years apart, in 1923 and 1927 respectively, they belong to different musical worlds, for Les Noces had been conceived much earlier, in the immediate aftermath of The Rite of Spring, and Stravinsky took a decade to perfect its formal shape and scoring.
Click here for remainder of article.
Stravinsky/Gergiev, Barbican Hall, London
By Richard Fairman [Financial Times, 2 Mar 05]
Valery Gergiev should go into corporate public relations. Before he took up his post at the Mariinsky Theatre in St Petersburg, how many people outside Russia could have described the company's style, or what it stood for, or could claim that they were familiar with its performances?
Click here for remainder of article (subscription to Financial Times online required).
This is no masterpiece for a maestro
[Daily Telegraph, 28 Feb 05]
Rupert Christiansen reviews the Kirov Opera at the Barbican
Scholars have dubbed Rimsky-Korsakov's penultimate opera, Legend of the Invisible City of Kitezh, as "the Russian Parsifal", and I am surrounded, if not besieged, by people who believe it to be a masterpiece of the genre.
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