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A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
07 Aug 2005
Renata Tebaldi: A Portrait
For those without videos or DVD's by the Italian soprano, this is a must. For all the others, better to read attentively the sleeve notes as there is nothing new to be found on these two DVD's. The Concerto Italiano can be purchased separately with the same firm. The Bell Telephone Hour selections are still available on the several Great Stars of Opera-DVD's brought out by VAI or on the video exclusively devoted to the soprano. And the selections from Tosca (Stuttgart 1961) are culled from a complete performance, also put on DVD by VAI and somewhat misleadingly called "The only available video of Renata Tebaldi in her signature role" on the firm's web; for convenience's sake forgetting the words "at this moment" as VAI once published another complete Tosca (with Poggi, Guelfi and the late soprano's lover at the time, conductor Arturo Basile).
That being said let's concentrate on what is offered here. It is abundantly clear that the very great Tebaldi is to be found in the first items on the first DVD. There the voice still has the unimpaired velvet that would somewhat disappear after her first vocal crisis in February 1963 to be supplanted with a more metallic though still clearly recognizable Tebaldian sound. The pieces from La Boheme with Bjoerling are well-known and VAI is so honest to note that the sound is a synched audio recording made in the studio during the telecast to suit the kinescope image. This is the correct procedure as picture recording was rather primitive in the fifties and often directly recorded sound (which could be more easily preserved) and images (which got blurred or sometimes even got lost for a second) don't quite match if one doesn't take this road. Luckily the synching is done expertly and once more one is struck how natural an actress Tebaldi is; surely when compared with Bjoerling's stiff attitude.
One of the surprises of the lively debates on several opera forums after she died was the remarkable opinion of many veterans who saw both ladies that she was a more believable actress than Callas who seemed to many still to be stuck in the grand guignol-style of the thirties. We don't have Callas as Cio-Cio-San but it's hardly believable she could improve on Tebaldi's magnificent interpretation of the two arias (and in full colour as well. As a bonus you get these scenes somewhat longer in black and white as well but this hardly deserves the "first release" cry). I'm wondering if the full colour "Si, mi chiamano Mimi" is still somewhere in the archives. The sound track for that item (I often saw on Flemish Public TV) is derived from her second complete Boheme as was clear from the audible "Si" by Carlo Bergonzi between the two parts of the aria. A picture of that video found its way to the cover of the London-(not the Decca) issue of the opera on LP.
The telecast of 1961 is less to recommend. The picture is somewhat murky and the soprano has to wear some things which could make an impression on the Family Circle at the Met but are very much overdressed, even ugly in close-up. The excerpts from her Stuttgart Tosca are more worthwhile, though it is not for the strangled sounds of tenor Eugene Tobin or the dry voice of George London. I remember well the excitement almost 45 years ago when the opera (followed or preceded by an Otello with the horrible Hans Beier) was broadcast by Eurovision in Western Europe. Most countries had only one channel (the big ones had two) and commercial television didn't exist. At that time opera singers were still household names and the fact that Tebaldi would sing directly was front page news. She is in good voice though somewhat husbanding her means at the start and one now notices how she cuts short her top notes.
The Concerto Italiano was recorded by Canadian Broadcasting Corporation in 1965; so just in time before the decline from 1968 onwards when her top register became completely unhinged and she refused any engagement in a complete opera performance outside the US as there alone she was sure the fans would turn in a deaf ear to her vocal shortcomings. In this broadcast she is at her best in Rossini's Regata Veneziani which she sings (and acts) with love and a dose of humour and which moreover poses no vocal hurdles as she must go no higher than high A. The long Tosca selection of the second act is less successful: not as to singing per se though the voice is steelier than in her great years but she is far more convincing, far more natural in her two complete theatre Tosca's. The cameras follow her closely and she is clearly overacting, always doing things, throwing looks, moving hands one second longer than is necessary. I fear the TV director is the culprit as there were no subtitles at that time and there was so much fear the audiences wouldn't "capture" the story; but four decades later it almost looks like a parody on Tosca. This time the soprano is more than ably partnered by the young Louis Quilico and he too has to squirm in overdrive.