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All told, this was probably the best Don Giovanni I have seen and heard. Judging opera performances - perhaps we should not be ‘judging’ at all, but let us leave that on one side - is a difficult task: there are so many variables, at least as many as in a play and a concert combined, but then there is the issue of that ‘combination’ too.
Can one justly “review” a streamed performance? Probably not.
But however different or diminished such a performance, one can—and
must—bear witness to such an event when it represents a landmark in the
evolution of an art form.
For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
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