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After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
second city of Novi Sad on 27th October would be transplanted from
6th century BC Babylon to post-Saddam Hussein Tikrit or some
bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.
Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
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