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On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
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.
06 Oct 2005
ORFF: Carmina Burana
Once hailed by the Nazis as a symbol of Aryan supremacy, Carmina Burana has come to be recognized as a powerful expression of the gluttony and depravity present in a medieval, pagan society. An effective performance of Orff’s musical adventure must allow audiences to envision the “imagines magicae,” or magical images conveyed through the convergence of music and choreography.
In the absence of a stage presence, the performers must strive to pointedly depict the illustrative tales portrayed in love songs, drinking songs, and fantasies that together form the rich tapestry that is Carmina Burana.
In this work, Carl Orff thoughtfully selected twenty-five Goliardic poems from the thirteenth-century Benektbeuren manuscript to set to music. The mood of each poem is so remarkably distinctive that in creating a musical setting, each required a drastically different approach. Through this wide-ranging contrast, Orff was able to demonstrate his amazing versatility as a composer. Likewise, Günter Wand and the musicians of the NDR Sinfonieorchester and Chorus commendably mirrored Orff’s talents.
The opening “Fortuna Imperatrix Mundi,” radiated the necessary strength and power to rival the most prominent of ensembles. “O Fortuna” lends itself to images of greatness, and this performance never diminishes the desired outcome. On the contrary, the strength of the chorus, the carefully balanced orchestra, and the well-articulated unison passages, all added to the percussive effect to create a feeling of imposing dominance.
In contrast to the bold statements in this first section, the “Primo Vere,” a section devoted to Spring, was lyrical and well-phrased, reinforcing the diversity of the piece and its interpreters. Baritone Peter Binder showcased his talents as well through his smooth voice and relaxed delivery. The springtime feeling continued in “Uf dem Anger” (On the Lawn) where the strings interjected playfully syncopated melodies that where delightfully light and care-free.
“In Taberna” (In the Tavern), a colorful section opening with Baritone Peter Binder and featuring Tenor Ulf Kenklies, was among the more dramatic (in the Thespian-sense), in that the inebriation referred to in the text certainly came across in the soloists’ voices. Ulf Kenklies noticeably exaggerates the intoxicated inflections in a quite entertaining way, depicting images of swan resigned to its miserable fate, as described in the text.
The love songs of the “Cour D’Amour” are characterized by lilting voices in the chorus and Soprano Maria Venuti, as well as seductive calls from the tenor and bass soloists. The songs range from playful, to mischievous, to utterly romantic. Maria Venuti is simply amazing in “Dulcissime,” the last song of the section, showing off with her unwavering tone and power in a register-taxing, cadenza-like passage.
The restatement of the “O Fortuna” is as impressive in the closing frame of the work as in the opening. The variety of styles and themes that come together to form such a complex entity tend to leave audiences fully satisfied. Carmina Burana fans won’t want to miss out on this extraordinary performance that exceeds the already high expectations generally attributed to this monumental work.
University of Tennessee