Recently in Reviews
Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.
Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.
Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.
Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.
For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.
O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.
Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.
On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.
John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.
Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.
After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
second city of Novi Sad on 27th October would be transplanted from
6th century BC Babylon to post-Saddam Hussein Tikrit or some
bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
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.