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Recently in Performances

Il turco in Italia at the Aix Festival

Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

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One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

Winterreise and Trauernacht at the Aix Festival

That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.

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Saint Louis: A Hit is a Hit is a Hit

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La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

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The Turn of the Screw, Holland Park

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … will supply him quite sufficiently with all the particulars.

Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

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La finta giardiniera, Glyndebourne

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Sophie Karthäuser, Wigmore Hall

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Leoš Janáček : The Cunning Little Vixen, Garsington Opera at Wormsley

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La Traviata in Marseille

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Madama Butterfly in San Francisco

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Luca Francesconi : Quartett, Linbury Studio Theatre, London

Luca Francesconi is well-respected in the avant garde. His music has been championed by the Arditti Quartett and features regularly in new music festivals. His opera Quartett has at last reached London after well-received performances in Milan and Amsterdam.

OPERA TODAY ARCHIVES »

Performances

Giuseppe Verdi
23 Feb 2006

La Forza del Destino at the Met — Four Reviews

METROPOLITAN OPERA: "Commissioned for St Petersburg (the premiere was in 1862), La Forza del Destino was based on a play by the Duke of Rivas, and was at first only a moderate success. Although Verdi revised it for Milan in 1869, it took a long time for audiences to come to appreciate the sprawling drama; several years take place between the first and last scenes, and the number of coincidences in the plot stretches credulity to the limit. But the overture, the arias for Leonora (including “Pace!”), and the duets for tenor and baritone have ensured that the opera remains popular whenever it is revived." Here are four reviews.

A Conductor's Date With Destiny

BY JAY NORDLINGER [NY Sun, 22 February 2006]

One of Verdi's best operas is now playing at the Met: "La Forza del Destino," a stew of arias, duets, choruses, and drama that makes a near-perfect operatic feast. If you don't like "Forza," you don't like Verdi. And you probably don't like the Italian repertoire. I won't go so far as to say you don't like life.

Click here for remainder of article.


The Marquis's Daughter and the Inca Prince Who Loves Her

By ALLAN KOZINN [NY Times, 22 February 2006]

The economics of opera being what they are, there are reasons to worry about a production that the Metropolitan Opera files away immediately after its premiere and leaves in storage for a decade. When it finally returns, it looks as if the company is holding its finger to the wind, trying to sneak it past an audience that either missed or has forgotten the original run, and hoping it's safe to slip it into the repertory.

Click here for remainder of article.


La forza del destino, Metropolitan Opera, New York

By Martin Bernheimer [Financial Times, 22 February 2006]

It looked so promising on paper. La forza del destino, virtually uncut, was returning to the mighty Met on Monday after a decade's absence, with a cast that seemed elite by current standards. Reality, alas, did not reinforce expectations. For at least one observer this was a sad night at the opera.

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'La Forza' may not be with you at the Met

BY MARION LIGNANA ROSENBERG [Newsday, 23 February 2006]

Seas of anguish surrounding islands of bitter humor, lit by the faintest glimmers of grace: Verdi's "La Forza del Destino" (1869) is volcanic, giddy, pious and among the hardest operas to perform well. The composer had a special fondness for this novelistic work, which he deemed one of his "modern" operas and repeatedly withheld from performance unless an exacting conductor and a theatrically sharp ensemble could be assembled.

Click here for remainder of review.

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