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A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walküre.
If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.
Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
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.