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Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
Michael Grandage's production of Mozart's Le nozze di Figaro, which was new in 2012, returned to Glyndebourne on 3 July 2016 revived by Ian Rutherford.
Said and done the audience roared its enjoyment of the performance, reserving even greater enthusiasm to greet stage director Christophe Honoré with applauding boos and whistles that bespoke enormous pleasure, complicity and befuddlement.
‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.
16 Aug 2005
Collectors have known this piece for more than a quarter of a century due to the MRF-pirate recording. Some have probably transferred these LP's unto CD-R and don't see a reason why they should buy this issue. Well, there is one and it's a compelling one. The MRF-sound was good mono, obviously culled from a radio broadcast. This Bongiovanni-issue however gives us the original brilliant stereo sound and it makes for a world of difference. I always liked the opera though I thought the first act somewhat lacking in inspiration; the performance only taking fire by Labo's first appearance. This set cured me of that impression while the choruses and brilliant orchestration (even somewhat too showy to prove Cilea had mastered his craft after Adriana where the violins are mostly doubling the vocal line) are now crystal clear and one quickly recognizes the inspired melodious ideas of the maestro.
Of course Cilea had moved on after the initial impact of Adriana which strangely enough disappeared after two years of initial successes on the boards only to re-emerge in the twenties, this time to stay forever. He too suffered under the attacks that he could only write a few tunes which he then consequently repeated endlessly. Therefore in Gloria he went for the uninterrupted flow of the music Puccini would use three years later in his Fanciulla. Nevertheless though the arias and duets are well hidden by orchestral postludes they still are clearly discernable and though they don't fall so easily on one's ears like " Poveri fiore " or " La dolcissima " they are still memorable after a few hearings; the final duet being especially worthwhile.
The recording has two exceptional singers in the title role. The American soprano Margherita Roberti shone ten years in dramatic coloratura roles in Italy and she is here caught at her very best : a supple rich sound which easily overcomes the many vocal hurdles. Labo (" probably one of the biggest voices in one of the smallest frames I ever saw ", was the definition a friend gave me who heard him frequently at the Met) is one of the tenors who are often talked about on opera forums with the epitaph " if he would be singing now etc ". This may be nostalgia but it nevertheless is true: the voice with the fine burnished sound is big, easily recognizable and even from bottom to the easy high notes. Maybe Villazon's sound comes nearest though the Mexican tenor has not quite the splendid top Labo had His role is not overlong (indeed the whole opera only lasts less than an hour and twenty minutes) but heavy with a lot of difficult intervals which he makes sound so easy. Baritone Lorenzo Testi is not completely in the same class as the two title main singers but he still brings with him a good and gruff voice well suited to the villain of the piece. Ferruccio Mazzoli on the other hand sings with splendid richness his few lines. In short this cast has nothing to fear from comparison with the 1907-creators Zenatello, Amato and Kruszelnicka; none of whom ever recorded a single note from this opera.
Personally I'd dearly wish to see a production of this opera (one of the many offspring's of the Romeo and Julia-theme, this time set in medieval Siena) but I fear neither the singers nor the right spirit to revive Gloria are available at this time. The bonus is an interesting one: some Cilea's songs sung by tenor Leonardo De Lisi (nice timbre; too much thickening of the tone above the staff) and soprano Anastasia Tomaszewska Schepis (a little too shrill under pressure). The songs are not particularly distinguished and sound a little bit too laboured; Francesco Tosti obviously had nothing to fear from Cilea who reserved his best tunes for his operas So I cannot say these songs are a warm recommendation for the CD with the complete chamber songs by these same artists (GB 2336-2) Still, the set is a must in every collector's cupboard.