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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.
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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
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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.
28 Sep 2005
SCHNEITZHOEFFER: La Sylphide
This is one of the most enchanting and lovely ballet performances that I have ever seen, and believe me I have seen quite a few! First performed in Paris on May 12, 1832, La Sylphide marks the advent of Romanticism in ballet.
The fairy tale aspect of the ballet helped to make it a resounding success all over Europe in the nineteenth century. There are many opportunities in the ballet to focus on this “otherworld” aspect: the village wedding, the sylvan setting, the eerie gaslights to mark the passage of the fairies, the costumes and the ballerina’s variations on pointes. But what made it even more enchanting to nineteenth-century onlookers was the fusion by the ballet master Filippo Taglioni of artistic dance and mime, that gave birth to the first acte blanc in the history of ballet; and the fact that Taglioni’s daughter, Marie, enchanted and fascinated her audiences in the lead role. This infatuation spread throughout France: newspapers began calling themselves La Sylphide, words such as sylphide and taglioniser were added to the French language, and fashions saw diaphanous blouses and turbans sylphide. With this ballet, tutus became the standard “uniform” of ballet dancers. In spite of its huge success, La Sylphide disappeared from the Paris Opera’s repertoire for over a century, reconstituted in a version by Pierre Lacotte in 1971 that was based on Taglioni’s dance style, and the basis for this performance.
Set in Scotland, the story recounts the love of a mortal for a supernatural creature. James prepares for his marriage to Effie, a peasant girl. Secretly, though, his thoughts are possessed by a nocturnal vision of the beautiful Sylph. When the Sylph appears to him in real life, he follows her into the aerial realm inhabited by winged beings. His love for her is doomed, however, as the Sylph is no more than a frail and faint ghost, and the evil spells of the witch Madge eventually transform James into a hapless assassin.
The performance is rich and colorful, with numerous individual and group dance performances, lavish costumes, and spectacular scenery. Various levels of staging allow many of the dancers to observe and fly through the scenery throughout Act 2, when the drama takes place in the fairy realm. All the performers, including the witch, are magnificent in this recreation of one of the important ballets of the Romantic period.
Dr. Brad Eden
University of Nevada, Las Vegas