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This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
27 Oct 2005
ROSSINI: La Cenerentola
Naxos is perhaps the only significant major label regularly releasing complete opera sets. A few have won widespread praise, and certainly the prices, at super-budget level, make them attractive to both first-time buyers and those whose collections scarcely justify an additional set.
Naxos recorded this Cenerentola in November 2004 at the Rossini in Wildbad festival. While not as punchy or pristine as a studio recording, the sound presents a good balance between vocalists and orchestra, and stage noise, often a significant detriment of live recordings, does not significantly mar the audio.
Right from the overture, however, an inexplicable dampness sets in – the electric charge which many live recordings boast remains stubbornly absent. Conductor Alberto Zedda, whose excellent booklet essay speaks to his commitment and authority, captures some fine detail, but the SWR Radio Orchestra seems to simply lack the flair and innate enthusiasm that brings out the best in Rossini’s charming score. Rossini specialists, however, will appreciate the opportunity to hear some alternative music that Zedda has identified and chosen to include in this performance
The CD cover photo suggests the primary attraction of this recording: rising star Joyce DiDonato’s sweet, agile voice. She delivers her act two canzone, Una volta c’era un re, with the grace and skill of a mature artist, all of which also characterizes her contribution to the sextet. She alone, however, can’t bring up the energy level to one that would make the whole performance take flight.
Juan Diego Florez reigns as Don Ramiro on the world’s stages now. Jose Manuel Zapata takes the role here, and though his voice doesn’t suggest he approaches Florez’s stature, he has a pleasant voice not strained at all by the role’s demands. Bruno Pratico’s Don Magnifico has some rough edges that might have been more effective as part of the theater experience; other than that, he inhabits the role with humorously gruff authority.
Naxos provides a link to an online libretto, with a note on the booklet informing us that this economy measure helps Naxos remain the “leader in the budget-priced market.”
All fine and good, but a Cenerentola that doesn’t sparkle and bounce makes for a less than appealing audio-only experience. Perhaps the staging, if captured for DVD, might have revealed more charm than this recording offers.
If Decca gets around to re-releasing at less than full price the Bartoli studio recording of a few years’ back, budget price alone won’t make this Naxos set competitive. Only as a record of Joyce DiDonato, still early in her career, can it be recommended. The more exciting prospect would be a DVD of DiDonato and Florez in a fine production of the opera. Perhaps the fairy Godmother, or Don Magnifico, of the opera world can make it come true, and soon.
Los Angeles Unified School District, Secondary Literacy