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Heldentenor Jay Hunter Morris tells us about the lean times when the phone did not ring, as well as those thrilling moments when companies entrusted him with the most important roles in opera.
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
San Francisco Opera wraps up its fall season of five operas with what it insists is a new production of Rossini’s comic masterpiece.
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.
One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).
At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.
30 Oct 2005
Ewa Podleś — Rossini Gala
If Rossini could set a laundry list to music, then Ewa Podleś is one of the few candidates available to sing it. In this CD, recorded live at the Polish Radio Hall in Wroclaw (Wratislavia), during the thirty third International Festival Wratislavia Cantans Music and Fine Arts, the Polish contralto gives ample proof of her status as one of the great singers of her generation.
Podleś is one of those singers whose versatile instrument is as comfortable singing Tancredi, in the opera by the same name, Isabella (L’Italiana in Algieri), Rosina (Barbiere di Siviglia), Adalgisa (Norma), Eboli (Don Carlo), or La Haine in Gluck’s Armida. In fact, this singer can tackle any role she desires, and do it successfully. Her voice is dramatic, and she possesses an extraordinary technique which enables her to show off an impressive range spanning three octaves. She is a remarkable artist whose effortless singing comes through in her emotionally charged performances.
The timbre in her voice is warm, bronzed and pleasant to the ear; her ability to switch registers with great ease is well demonstrated, as in Arsace’s aria,“ A quel giorno,” springing from the depths of her being, and ending with crystal clear soprano-like high note; and the reverse is also true as in the finale of “Non temer d’un basso affetto” from Maometto II. She displays a firm, secure, staccato with short, rapidly sung notes, which Bernard Holland (New York Times, May 5, 2005) has likened to “bayonet charges.” When listening to this CD, other singers come to mind, not as a point of comparison, but as a compliment to her artistry and her ability to convey the drama, emotions, and the “Bel Canto” of what she is singing. Podleś delivers a rock solid performance—close to sixty minutes of non-stop singing, in what must have been an electrifying concert.
Podleś’ is clearly not one to please every listener—like any other singer she has her “own” mannerisms, some which are more noticeable in live performances; but the qualities of her instrument and her artistry cannot be denied. The contralto was in powerful form for this concert, and after listening to this CD her detractors will also come out her most ardent fans.
The Leopoldinum Chamber Orchestra, under conductor Wojciech Michniewski, is very effective in accompanying Podleś. This CD also includes one solo selection for the orchestra, the overture to Rossini’s Il Babiere di Siviglia.
Daniel Pardo 2005