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With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
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.
Opera in the British Isles might seem a rather sparse subject in the period 1875 to 1918. Notoriously described as the land without music, even the revival of the native tradition of composers did not include a strong vein of opera.
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.
05 Aug 2005
BIZET: Les Pecheurs de Perles
Bizet's youthful masterpiece is notoriously difficult to stage. Up to now I have not seen a production which is not slightly ridiculous. So it is an ideal opera for a concert performance or a listening experience. If you are looking for an authentic performance this is not the one to go for.
The orchestra is somewhat thin sounding and so is the chorus. Conductor Bruno Rivoli (whose name is printed in the smallest letter possible on the back) has some strange ideas concerning tempi at the start of the opera (the faster the better) until Alfredo Kraus makes his entrance and then Mr. Rivoli gladly follows the experienced guide. There is no libretto included and for those wishing to brush up their French this is not the course to follow. The chorus has no inkling what it is singing and Vicente Sardinero grunts a lot of sounds that vaguely resembles French. Therefore this set is strictly for the fans of the three principal singers and it must be said they will not be disillusioned.
The main attraction of course is tenor Alfredo Kraus whose picture is on the cover though he is at least twenty years younger on it than he was at the time of the performance. Still the voice after a career of 26 years had the youthful sheen which at the end of the eighties would gradually disappear. Kraus is the only singer with perfect French and he is his stylish self though with a few reservations which definitely won't put off his fans as he is playing a home match and not recording a set for the international market he is not too much concerned with note values. Each high note is kept a second longer than necessary though he doesn't make a circus spectacle of this facility. He makes his entrance with a blazing unwritten high C and he keeps up the good works all along .There is in my opinion something lacking in this performance: charm and sweetness. Take the big aria " Je crois entendre encore ". The voice is a little too stiff, too unwieldy to lead us into the land of his dreams. There is no morbidezza in this song which can be found so abundantly in Alain Vanzo's interpretations. Moreover Kraus' attacks on the high notes are always fortissimo, then gradually declining into piano and this makes the aria more of a robust love song than a dream. Of course the moment determination has to be shown his approach works magnificently as in the duet " Ton coeur n'a compris le mien ".
Mariella Devia is a fine Leila — young sounding (and not old as Jeanine Micheau did on the historic set with Gedda) or too thin as with Ileana Cotrubas on the later EMI-set though that lady has a bit more charm than the Italian soprano. Devia's middle register is not very distinct but of course the voice takes flight from middle G on. Baritone Vicente Sardinero mixes up Bizet with Mascagni. There is no elegance in his delivery like Blanc or Massard gave us but there is no denying the fully rounded sound he brings with him. Bass Giovanni Foiani is a deluxe Nourabad in a role which is often weakly cast. Indeed I always wondered why he didn't have a bigger career.
As told, this is not an authentic performance of the score though I take the heretic view that hundred and fifty years of tradition cannot be wiped away as some seasoned performers probably recognized better the beauties of the opera than did 25-year old Bizet himself. The hit of the piece " Au fond du temple sain " is given the traditional reprise of the main theme after the short quarrel between Nadir and Zurga instead of the somewhat clumsy melody Bizet wrote. And I still think that Benjamin Godard's trio " O lumiere sainte " (magnificently sung here) is a more impressive way to conclude the opera than Bizet's own ideas.