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This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
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.