Recently in Performances
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on
Friday night was the latest in the Coliseum’s recent run of new and
co-produced productions, and also renowned director Peter Jones’ latest foray
into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the
same arts festival in Coventry for which Britten’s War Requiem was
written and in fact the two works have something in common, dealing with the
issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s
Die Fledermaus several debuts are notable to both American and Chicago
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera
House risks laying the house’s Director of Opera open to charges of
antiquated mores and misogyny: for he seems to suggest that the women are just
as bad, if not worse, than their seducer — and that a soulful man who seeks
genuine love is likely to find his ‘ideal beloved’ forever out of reach.
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
If satire is your thing you will not want to miss this opera about human testicles grafted onto a dog.
10 May 2005
Tales of Hoffmann at Seattle
Jacques Offenbach’s “The Tales of Hoffmann” has to be one of the most problematic and untidy operas in the international repertory.
Nearly 125 years after its premiere at the Opera-Comique in Paris, the opera is still subject to alterations and adjustments of whatever impresario is producing the show. Different editions abound—since the score was unfinished at the time of the composer’s death—as well as different opinions, almost by definition, about what should and should not be included in any performing edition.
Under the illusion of rose-colored glasses, a love-struck Hoffmann (John Uhlenhopp) woos the affections of Olympia (Julianne Gearhart), unaware that she is, in fact, a doll. (Rozarii Lynch Photo)
For Seattle Opera, 'Hoffmann' is a tale of triumph
By R.M. CAMPBELL [Seattle Post-Intelligencer, 9 May 05]
Jacques Offenbach's "The Tales of Hoffmann" has to be one of the most problematic and untidy operas in the international repertory.
Nearly 125 years after its premiere at the Opera-Comique in Paris, the opera is still subject to alterations and adjustments of whatever impresario is producing the show. Different editions abound -- since the score was unfinished at the time of the composer's death -- as well as different opinions, almost by definition, about what should and should not be included in any performing edition.
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Alternate "Hoffman" cast features new singers, different vibes
By Melinda Bargreen [Seattle Times, 10 May 05]
It's always a revelation to see how different an opera production looks and sounds when new leading singers step in. Saturday's opening performance of "The Tales of Hoffmann," the exciting new production at Seattle Opera, featured such a terrific ensemble cast that Sunday's alternate cast (introducing five new singers) had very big shoes to fill. But Sunday afternoon's first performance, a completely new show, generally worked well on its own terms.
First of all, tenor John Uhlenhopp makes a commendable Hoffmann, with a bright timbre, good high notes and strong dramatic skills. He clearly connects with his inamoratas. Linda Pavelka, as his Muse and constant companion, gave all her scenes a dramatic urgency, showing a real command of the role's vocal requirements.
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