Recently in Performances
After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
second city of Novi Sad on 27th October would be transplanted from
6th century BC Babylon to post-Saddam Hussein Tikrit or some
bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.
Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
28 Feb 2006
Ewa Podles in New York — Two Reviews
On 26 February, Constantine Orbelian led the Moscow Chamber Orchestra, marking its 50th anniversary this season, in works by Haydn, Prokofiev, Rossini, Shostakovich, and Mussorgsky, with the renowned contralto Ewa Podlés. Here are two reviews.
Almost Bringing the House Down With a Rarely Heard Rossini
By ANTHONY TOMMASINI [NY Times, 28 February 2006]
Ewa Podles can certainly excite an audience. When Ms. Podles, a Polish-born contralto, finished her electrifying performance of a rarely heard Rossini solo cantata, "Joan of Arc," on Sunday afternoon, people throughout Avery Fisher Hall burst into frenzied applause and lusty bravos. There was so much foot-stomping the walls seemed to shake. One feared that the scheduled gutting and renovation of the auditorium were about to get an early start.
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A Heavenly, Rarely Heard Voice
BY FRED KIRSHNIT [NY Sun, 28 February 206]
In the 2003-04 New York season, when I heard Renee Fleming sing the "Song to the Moon" during Dvoryak's "Rusalka" at the Metropolitan Opera, the most impressive vocal effort was still the Ulrica of Ewa Podles. In a concert version of Verdi's "Un ballo in maschera," Ms. Podles reminded once again that she is actually either a creature from another planet where singing is revered as the highest art or a time traveler sent from the golden age of Ernestine Schumann-Heink. I have a good friend in the Collegiate Chorale, and she told me that Ms. Podles's entrance took them all by surprise. In an otherwise wooden ensemble performance, this larger than life superstar slithered (there is no other word for what she did) out onto the Carnegie Hall stage with a facial expression right out of D.W. Griffith. Even before she opened her mouth, she electrified the entire audience (and the singers as well, as I found out after the fact). Once she intoned her first resonating contralto note, everyone else might just as well have gone home. We only had ears for her.
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