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Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.
Most opera professionals, including the individuals who do the casting for
major houses, despair of finding performers who can match historical standards
of singing in operas such as Aïda. Yet a concert performance in Aspen
gives a glimmer of hope. It was led by four younger singers who may be part of
the future of Verdi singing in America and the world.
One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.
Three years ago I made what may have been my single worst decision in a half
century of attending opera. I wasn’t paying close attention when some
conference organizers in Aix-en-Provence offered me two tickets to the premiere
of a new opera. I opted instead for what seemed like a sure thing:
William Christie conducting some Charpentier.
The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.
Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.
As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.
Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.
Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.
That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.
Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.
This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.
John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.
On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.
Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.
Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.
It might seem churlish to complain about the BBC Proms coverage of Pierre
Boulez’s 90th anniversary. After all, there are a few performances
dotted around — although some seem rather oddly programmed, as if embarrassed
at the presence of new or newish music. (That could certainly not be claimed in
the present case.)
09 Nov 2005
TCHAIKOVSKY: Sleeping Beauty
Tchaikovsky counted Sleeping Beauty as one of his best works. The idea came from Ivan Vsevolozhsky (1835-1909), director of the Russian Imperial Theatres from 1881 onward. He had staged several of Tchaikovsky’s operas, and he wanted Tchaikovsky to produce a ballet score with him.
Sleeping Beauty is based on the baroque fairy tale La belle au bois dormant (The Sleeping Beauty in the Wood) by Charles Perrault (1628-1703). Perrault wrote his fairy tales for the amusement of Louis XIV and the Sun King’s court, who were amused by tales of the simple folk. Marius Petipa (181-1910), the ballet master who choreographed Tchaikovsky’s score, staged it in the style of Louis XIV court, constructing marvelous stage sets made from painted gauze veils and movable walls, as well as lavish costumes from the 17th century French style. Although the ballet had a lukewarm reception at its premiere, it took on a life of its own in the 20th century, with many imitators and devotees of Petipa attempting to produce the original performance and choreography. Act Three is the crux and highlight of the ballet, the marriage of Princess Aurora and Prince Desire, where all of the characters from Perrault’s fairy tales come to life and appear in the ballroom. Puss-in-Boots, Little Red Riding Hood and the Wolf, Cinderella; a whole menagerie from Perrault’s well-known Tales of Mother Goose appears throughout the production.
The version of the production in the DVD is the one choreographed by Yuri Grigorovich in 1973. Grigorovich does not try to recreate Petipa’s style; rather, he incorporates Petipa’s legacy of “symphonizing the dance.” This involves traditional classical numbers with several demi-character or related numbers, which fit within the overall visual framework yet follow the musical flow. The performance is truly a delight and feast for the eyes, with all of the various fairy tale characters and dance pieces that remind one of The Nutcracker and its many visual and musical pieces. The Bolshoi Ballet does a wonderful job performing and costuming the various dancers, and the music is done quite well.
Dr. Brad Eden
University of Nevada, Las Vegas