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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.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.
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.