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Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
25 Sep 2005
GLINKA: Ruslan and Lyudmila
Based on a tongue-in-cheek poem by young Alexander Pushkin, Mikhail Glinka’s second opera Ruslan and Lyudmila (1842) is an epic adventure tale, in which three rival Russian knights roam the land in search of a Kievan princess kidnapped by a sorcerer.
The opera, known to most Western listeners primarily through its showpiece overture, is one of the most brilliant creations of 19th-century Russian music. In five acts with a prolog, it is enormous and difficult, requiring high virtuosity from both singers and instrumentalists; the score also presents a host of problems for stage directors as it defies all attempts at realistic staging. Meanwhile, conductors face numerous textological conundrums caused by the divergences in the existing sources and the lack of an authorial manuscript, believed to have perished in a fire.
A new Bolshoi Theater recording of the opera, made live in 2003 and recently released by PentaTone Classics, may help to solve some mysteries of Glinka’s masterpiece. Conductor Alexander Vedernikov claims that his production represents “the original version” of the work recreated from the newly found authoritative copies of the lost manuscript. Fans of the opera should not expect major revelations, however: while there are several discrepancies in pitch and rhythm throughout the score, the sequence and content of the material is essentially intact. Indeed, if some music on this recording proves unrecognizable, it is the unfortunate consequence of the performance quality of the new production.
To start with the singers, the ladies generally did better than the men. Alexandra Durseneva’s voice is a deep, rich contralto, a little heavy for my taste, but just sexy enough for the Middle-Eastern exotica of her character, prince Ratmir. Maria Gavrilova is a lovely Gorislava; she is by far the best singer in the lineup, which makes one wish that the composer had given her more than a cameo role. Ekaterina Morozova as Lyudmila is more disappointing: her coloratura is clean and precise, but is suitable more for the Queen of the Night (her signature part) than for a warm-blooded Russian princess; this is particularly noticeable in her Act 4 aria. Still more disappointing is Lyudmila’s beloved, Ruslan; the voice of Taras Shtonda, particularly in the barely perceptible low register, is thoroughly uninspiring. Valery Gilmanov appears to have given up on the whirlwind tempi of Farlaf’s buffo part: the Vivace assai of the famously Rossini-esque Act 2 rondo barely qualifies as a Moderato, completely destroying the hilarious effects of the scene. Maxim Paster’s ringing tenor with steady yet sweet upper register is perfect for Bayan; Vitaly Panfilov’s Finn, however, while technically flawless, is painfully devoid of color. Indeed, several singers on the recording seem to have sacrificed both richness of timbre and richness of interpretation to the goal of precisely rendering the notes of the carefully restored score. One wonders if such an approach would win any converts to Glinka’s genius.
It is difficult to overestimate the tremendous importance of the chorus in Glinka’s epic. According to Vedernikov, the emphasis placed in his production on the chorus as an ever-present commentator led him to abandon the realistic costume drama for an oratorio-like “mystery” (the one with a more contemporary look, as evident from the CD cover art). Unfortunately, as I have already commented in an earlier review for this site, the Bolshoi Theater’s chorus is weak, and has trouble keeping both the pitch and the beat. The introduction and finale – scenes that require more volume than precision – are less affected by this, but the quality is disastrous, for instance, in the Act 2 scene of Ruslan with the giant Head – the character represented by the unison male choir that must be perfectly in sync to achieve the desired effect.
Last but not least, Glinka’s opera lives and dies by its orchestration: as Vedernikov points out, apart from the complex, delicate accompaniment, there are more than 40 minutes of purely instrumental music in Ruslan. The fiendishly difficult score presents an evidently insurmountable challenge to the Bolshoi orchestra, the weakest spot of that theater’s productions over the past few years. As a result, Glinka’s sparkling orchestra comes across as dull, colorless, heavy, and more than occasionally out of tune. The tempo of the brilliant overture is sluggish at best, and even in that tempo the musicians are struggling.
Overall, the new Ruslan and Lyudmila recording is of value for a performer in need of consulting an authoritative version of Glinka’s score without visiting the notoriously mysterious Moscow archives. The rest of us may be better off staying faithful to the Mariinsky recording, or even the vintage 1978 Bolshoi production with Nesterenko, which Melodiya recently re-released on CD. After all, as the conductor tells us, this work is first and foremost a musical masterpiece; it should be approached as such.
University of Missouri—Columbia