Recently in Performances
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.
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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