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Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
24 Oct 2005
The Karajan Collection—Wagner Orchestral Music
“Das Wunder Karajan” – “the miracle of Karajan” – is a phrase associated with the conductor since he was thirty years old, and that phrase holds true in his recorded legacy. In addition to recent DVD releases, EMI has issued a series of CDs in its “The Karajan Collection,” which preserves many fine studio recordings.
Among the volumes in the set is a collection of orchestral music from Wagner’s operas, which stems several concerts with the Berlin Philharmonic between the end of September and early October in 1974. (Originally released in 1975, the selections were remastered in 2001.) Since Karajan was noted as an interpreter of Wagner’s music, and his work with the Berlin Philharmonic is well known, this recording preserves several fine pieces that are rarely played with such consistent intensity, and one can imagine the immediate impact on the audience.
The Overture to Tannhaüser, the longest selection on this CD, makes use of the Paris version of the score, and it includes the chorus of the Deutsche Oper, Berlin, rather than the exclusively orchestra rendering something found on recordings of excerpts from Wagner’s operas. The balance between chorus and orchestra is effective, just as the shifts in orchestral color that are part of the Overture are achieved with smoothly. The solid string textures form a rich foundation for the sometimes exposed woodwind and brass playing in this piece, and the result is as vibrant as it was thirty years ago, when Karajan recorded it.
Likewise, the full string sounds with which the Prelude to Lohengrin opens are difficult to match. While some may quibble with Karajan’s tempos, which can be a little quicker than some would like, this performance is hardly willful: Karajan shows a clear direction as the piece grows in intensity and orchestral color before it subsides in the rich string sounds found in the opening measures. Such masterful direction is borne out in the Prelude to the third act of the same opera, where the prominent brass sonorities offer the kind of polished sound usually associated with the Chicago Symphony Orchestra under Georg Solti.
At the center of this recording is the Prelude to Tristan und Isolde, a work for which Karajan was respected in the opera house. Karajan’s performance of the Prelude is among his finest, as he renders the details of the score precisely and elicits the emotional pitch that this piece must have. The only caveat about this performance is the attaca that connects the orchestral version of Isolde’s “Liebestod” to the end of the Prelude to the first act. While this may work in concert, the banding on a CD should reflect the discrete pieces. With the two pieces connected in this way, the pathos that is essential to the Prelude maps directly onto the “Liebestod” from the end of the third act. Even without including the voice in this performance, Karajan draws the appropriate emotion from the instruments in his cantabile approach to this piece.
It is difficult to follow the music from Tristan und Isolde in this collection, except with something different, and the Overture to Der fliegende Holländer offers sufficient contrast. This selection is, again, a solid performance that evokes the mood of the opera itself. As with the other pieces on this CD the sound vividly captures the fine playing. Karjan’s tempos are compelling, and fit not only the score as Wagner left it, but also the level of playing of the Berlin Philharmonic. Nothing is out of place in this performance, with every detail sounding in place, as though the Orchestra were a single instrument – an achievement of “das Wunder Karajan.” Yet in the final piece on this recording, Karajan builds somewhat on tradition to offer a more paced and majestic reading of the Overture to Der Meistersinger von Nürnberg. In this in this performance, the work even slows a bit near the ending to bring out the fanfares and string accompaniments that are often blurred on other recordings. As the tempos slow toward the final passages, the intensity of the playing increases, with dynamic, resonant sounds that culminate in the well-spaced chords at the conclusion of the Overture.
This recording is a fine collection on its own merits, but it even more impressive as part of EMI’s “Karajan Collection.” The liner notes by Richard Osborne give a synopsis of Karajan’s work with Wagner’s music, but could be enhanced with a discography of the conductor’s recordings. The distinctive look of the CD packaging identifies the volumes in this series, with a black-and-white photo presumably from the time of the recording against a brown-tan background. While a list of the CDs in the set is not part of this recording, those interested might consult the website www.emiclassics.com. It is a fine release on its own merits, and all the more impressive as part of the set being issue by EMI.
James L. Zychowicz