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During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704). The work of these three composers may be less familiar to listeners, but Florilegium revealed the musical sophistication - under the increasing influence of the Italian style - and emotional range of this music which was composed during the second half of the seventeenth century.
Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà - a chanteuse raised from the backstreets to the bright lights - is a walking compendium of emotions. Ruggero Leoncavallo’s eponymous opera lives by its heroine. Tackling this exhausting, and perilous, role at the Barbican Hall, The soprano Ermonela Jaho gave an absolutely fabulous performance, her range, warmth and total commitment ensuring that the hooker’s heart of gold shone winningly.
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
07 Aug 2005
The director of this production, Robert Herzl, composed an impressively thoughtful and serious essay for the DVD booklet. He considers the historical context of both the opera-story and the opera's premiere, taking into consideration Verdi's staging demands as well as the composer's willingness to compromise for the greater benefit of the production.
Eventually, this statement appears:
In my view, those who plan to put a work on the stage should first of all take a look at it from the viewpoint of the age in which it was written, in order to be able to present it in a manner that meets the aesthetic requirements of our own time.
Herzl goes on to explain how that principle guided the creation of this production at this "open-air event" (basically, a quarry) at the Festival St. Margarethen festival.
Viewers of the lamentable result will have to reconcile Herzl's essay with his show. Your reviewer cannot do so.
Working in conjunction with Manfred Waba (stage design and special effects), Herzl has devised an Aida with over-the-top stage action which frequently swamps the story and dwarfs the characters. Examples: At the end of her confrontation with Aida, Amneris hops into a chariot, grabs a shield and sword, and goes flying off the stage, like a Valkyrie. For the victory procession, Radames (probably a double, as the singer's face is masked) laboriously rides an elephant down a hillside onto the stage area. In the final scene, each of the three principals is placed in vertically aligned openings carved high into the quarry wall, with visible restraining ropes to keep the singers from accidentally falling forward and down to a doom more certain that suffocation in such a "tomb" (why Amneris is placed in the same location goes unexplained).
One might also wish for an explanation as to how a Nordic blonde youth ended up in Egypt for the requisite farce of a dance sequence. And what would Verdi have thought of the lovingly filmed fireworks show at intermission? Perhaps best not to know.
Even when such outlandish malarkey isn't provoking either groans or guffaws (or both), Herzl has failed to get satisfactory performances from his singers, with the Aida of Eszter Sumegi being a notable exception. Cornelia Helfricht's Amneris needs a good slap, as she struts arrogantly round the stage, frequently displaying a tendency to throws cups and articles of clothing to the ground in a hissy fit. The voice is no fresher than her matronly appearance would suggest.
As for Kostadin Andreev's Radames, here is a plump, not especially masculine Egyptian war hero given to pouting and "dramatic" arm waving. Andreev doesn't have a satisfactory voice to compensate for his unfortunate acting, with most of the voice no more than a mezzo forte bleat, although he can reach the high notes.
Eszter Sumegi retains her dignity for most of the evening. The tight vibrato will evoke varying responses in listeners, but she has it in fair control, and most miraculously, manages to create and hold onto a believable character. The best scene of the evening takes place on a bare stage, as Amonasro (a decent Igor Morosow) confronts his daughter. Here Herzl shows what he can do when quarry-sized antics don't come first.
At the start and after intermission, the orchestra is glimpsed, but their exact location in relation to the stage remains a mystery, as the quarry setting allows for no pit. The sound throughout, unsurprisingly, comes from a generic source, and all the singers sport small microphones, tastefully taped to the center of their foreheads. The cast resembles an alien race of a Star Trek episode where the budget only allowed for a brow ridge to indicate their extra-terrestrial origins.
Almost any other Aida on DVD earns preference over this one, but if a viewer wants more of the intimacy of the opera captured, the Zefferelli-produced Busetto production deserves mention. For high-powered singing and stage excess, perhaps the La Scala production with a quarry-sized Pavarotti would fit the bill.
Just anything, anything, other than this Festival St. Margarethen production. The fireworks are nice though.
Los Angeles Harbor College