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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.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
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