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Recently in Performances

The Threepenny Opera, London

‘Mack does bad things.’ The tabloid headline that convinces Rory Kinnear’s surly, sharp-suited Macheath that it might be time to take a short holiday epitomizes the cold, understated menace of Rufus Norris’s production of Simon Stephens’ new adaptation of The Threepenny Opera at the Olivier Theatre.

La bohème, LA Opera

On May 25, 2016, Los Angeles Opera presented a revival of the Herbert Ross production of Giacomo Puccini’s opera, La bohème. Stage director, Peter Kazaras, made use of the Dorothy Chandler Pavilion’s wide stage by setting some scenes usually seen inside the garret on the surrounding roof instead.

Amazons Enchant San Francisco

On May 21, 2016, Ars Minerva presented The Amazons in the Fortunate Isles (Le Amazzoni nelle Isole Fortunate), an opera consisting of a prologue and three acts by seventeenth century Venetian composer Carlo Pallavicino.

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Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.

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Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

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As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

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From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

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Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

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The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

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OPERA TODAY ARCHIVES »

Performances

Pierre Augustin Caron de Beaumarchais (1732-1799)
04 Feb 2006

Le Nozze di Figaro at ROH — Four Reviews

ROYAL OPERA HOUSE: "To mark the 250th anniversary of the birth of Wolfgang Amadeus Mozart, The Royal Opera mounts a new production of his setting of the second of Beaumarchais' domestic but politically charged 'Figaro' comedies, as adapted by librettist Lorenzo da Ponte. "

Le Nozze di Figaro

Richard Morrison at Covent Garden [Times Online, 2 February 2006]

Few of the trillion Mozart celebrations this year will match David McVicar’s new Royal Opera staging of Figaro for insight or passion. It isn’t a perfect show. Act IV sags, and seems untidily staged in comparison with the meticulously observed domestic warfare that has gone before. Dorothea Röschmann sings the Countess’s despairing arias with touching intensity, but also intermittent waywardness.

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Cleverness with a hole in it

By Andrew Clark [Financial Times, 2 February 2006]

No one could possibly object. The Royal Opera's new Figaro, directed by David McVicar, looks good and sounds good. The set-changes are breathtakingly clever. The costumes seem vaguely in period (1820s actually). The conducting is fluent, the casting strong. Everyone can go home satisfied, then, can't they? Not really. There is a hole at the heart of this Figaro, a gaping void of ideas, a mentality that puts surface-dressing above interpretation. We get no flavour of why the work had such incendiary implications for its day, or what it might say to us now. What Covent Garden is marketing here is reproduction opera.

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Le Nozze di Figaro

Tim Ashley [The Guardian, 2 February 2006]

David McVicar's new production transposes Mozart's comedy from its usual 18th century setting to a French chateau on the eve of the July 1830 revolution that saw the restored Bourbon monarchy replaced by the liberal bourgeois era of Louis Philippe. The events of that summer were famously commemorated by Delacroix in Liberty Leading the People. The production charts the transformation of Figaro, gloriously incarnated by Erwin Schrott, from naive, liveried flunky to a politically engaged figure who belongs on Delacroix's barricades.

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For Better or Worse, a Bourgeois 'Figaro' in London

By DANIEL J. WAKIN [NY Times, 4 February 2006]

LONDON, Feb. 3 — In this European musical capital, the highest-profile homage to Mozart during his anniversary year came about with surprising casualness.

"We have strong productions of 'Così Fan Tutte,' 'Don Giovanni,' " said Antonio Pappano, the music director of the Royal Opera House at Covent Garden, "as well as 'The Magic Flute.' " But the existing version of "Le Nozze di Figaro" had been put to rest, and it was time to bring the opera back.

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