Recently in Performances
The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.
Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.
Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing
The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.
Vestiges of a momentous era . . .
There were hints that L’elisir is one of the great bel canto masterpieces.
Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.
Stage director Pierre Audi is not one to be strictly representational in his story telling.
For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.
Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.
Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.
Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.
Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.
Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.
Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.
For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.
O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.
Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.
On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.
John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.
13 Dec 2005
Stravinsky in San Francisco — Two Reviews
SAN FRANCISCO SYMPHONY: The San Francisco Symphony and Michael Tilson Thomas present two semi-staged theatrical performances: a double-bill featuring Stravinsky's rarely heard operas The Nightingale and Oedipus Rex.
A.C.T. Artistic Director Carey Perloff directs Oedipus Rex, based on Sophocles's classic tragedy. It features an international cast of vocal soloists and British film, stage, and television actor Roger Rees. The magical fairy tale The Nightingale, directed by Patricia Birch, showcases an array of vocal soloists, actors, dancers, and members of the "avant-cabaret" Vau de Vire Society. Michael Tilson Thomas, one of the world's foremost interpreters of Stravinsky, leads both works. [Source: San Francisco Symphony]
Le Rossignol/Oedipus Rex, San Francisco
By Allan Ulrich [Financial Times, 13 December 2005]
Michael Tilson Thomas's annual forays into semi- staged opera have reaped revelatory results during his 11-year tenure at the San Francisco Symphony. The conductor's infrequent visits to the formal world of opera do not signify an antipathy to lyric theatre, but confirm his unfashionable belief that, in this collaborative venture, the music must nevertheless take priority over mise-en-scène.
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Stagings draw out Stravinsky's theatrical verve
Joshua Kosman [SF Chronicle, 10 December 2005]
Stravinsky's music all sounds different, and it all sounds fundamentally alike.
The two stage works that Michael Tilson Thomas and the San Francisco Symphony undertook for Thursday's fascinating program in Davies Symphony Hall -- the shimmery fairy tale "The Nightingale" and the starkly neoclassical "Oedipus Rex" -- encompass wide leaps in style. Yet there's no mistaking the guiding sensibility at work behind every measure.
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