Recently in Performances
Why did Jean Sibelius suppress Kullervo (Op7, 1892) ? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private. Sakari Oramo considers Kullervo "a masterpiece", and, at Prom 58 at the Royal Albert Hall, London, conducted it with such conviction that there can be little doubt about its unique place in Sibelius's output, and indeed in music history.
Most opera professionals, including the individuals who do the casting for
major houses, despair of finding performers who can match historical standards
of singing in operas such as Aïda. Yet a concert performance in Aspen
gives a glimmer of hope. It was led by four younger singers who may be part of
the future of Verdi singing in America and the world.
One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.
Three years ago I made what may have been my single worst decision in a half
century of attending opera. I wasn’t paying close attention when some
conference organizers in Aix-en-Provence offered me two tickets to the premiere
of a new opera. I opted instead for what seemed like a sure thing:
William Christie conducting some Charpentier.
Advertised in the program as the first opera written in the New World,
La Púrpura de la Rosa (PR) was premiered in 1701 in Lima
(Peru), but more than the historical feat, true or not, accounts for the
The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.
Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.
As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.
Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.
Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.
That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.
Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.
This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.
John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.
On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.
Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.
It might seem churlish to complain about the BBC Proms coverage of Pierre
Boulez’s 90th anniversary. After all, there are a few performances
dotted around — although some seem rather oddly programmed, as if embarrassed
at the presence of new or newish music. (That could certainly not be claimed in
the present case.)
I recently spent four days in St. Petersburg, timed to coincide with the
annual Stars of the White Nights Festival. Yet the most memorable singing I
heard was neither at the Mariinsky Theater nor any other performance hall. It
was in the small, nearly empty church built for the last Tsar, Nicholas II, at
As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.
A brilliant theatrical event, bringing Handel’s theatre of the mind to
life on stage
19 May 2005
Britten's A Midsummer Night's Dream at COT
At first glance, Shakespeare’s “A Midsummer Night’s Dream’’ is a frothy tale, a story of youthful romance going charmingly awry.
True, Tatania, the fairy queen, feuds fiercely with her husband, Fairy King Oberon, over custody of a boy prince the Queen of India has given her. But the course of true love ne’er did run smooth, and Shakespeare’s beleaguered lovers triumph in the end.
Scene from A Midsummer Night's Dream (Photo: Chicago Opera Theater)
COT team embraces Britten's ambivalent 'Dream'
BY WYNNE DELACOMA [Chicago Sun-Times, 15 May 05]
At first glance, Shakespeare's "A Midsummer Night's Dream'' is a frothy tale, a story of youthful romance going charmingly awry.
True, Tatania, the fairy queen, feuds fiercely with her husband, Fairy King Oberon, over custody of a boy prince the Queen of India has given her. But the course of true love ne'er did run smooth, and Shakespeare's beleaguered lovers triumph in the end.
For most of us, Mendelssohn's airy music for "A Midsummer Night's Dream," composed for an 1843 production of the play in Berlin and now a concert hall staple, sums up the play's atmosphere. Its sprightly Wedding March has sped countless brides and grooms out the church doors into their newly married lives.
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Britten's 'Midsummer' a dream
Chicago Opera Theater's cast and edgy staging do Shakespeare proud
By John von Rhein [Chicago Tribune, 19 May 05]
Tribune music critic
The operas of Benjamin Britten have been a veritable talisman for Chicago Opera Theater since the company's early years. The city's second opera company is ending a winning season with a stage awash in the wit and wonderment of Britten's "A Midsummer Night's Dream." The only puzzling thing about director Andrei Serban's exhilarating new production, which opened Wednesday in the Harris Theater, is why one of the composer's most important stage works had to wait 45 years to receive a professional staging in Chicago. Britten and his partner, Peter Pears, cut Shakespeare's dark fairyland comedy by about half, clarifying the plot complexities while retaining the Bard's evocative poetry. In so doing they created a world--or, rather, three distinct worlds, those of the fairies, mortals and rustics--that can hold its own with the original.
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