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Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
08 Mar 2006
Mazeppa at the Met — Three Reviews
This season the Metropolitan Opera presents Tchaikovsky's infrequently performed opera, Mazeppa. Acording to the Met, "[a]lthough Tchaikovsky is best known for Eugene Onegin and several great ballet scores, he wrote many other wonderful operas including Mazeppa, which receives its premiere at The Met this season. Premiered in Moscow in 1884, it was first seen in St Petersburg just three days later, and has remained in the repertoire of The Mariinsky Theatre from that time. Based on a poem by Pushkin, it tells the story of a 17th century Ukrainian separatist, who falls in love with a friend’s daughter. The opera is full of tuneful episodes (similar to those in The Queen of Spades) and this is a very rare chance to see the opera in New York." Here are three reviews.
A Met Premiere With a Russian Twist
By FRED KIRSHNIT [NY Sun, 8 March 2006]
The last time anything called "Mazeppa" was performed at the Metropolitan Opera was in 1894, when listeners heard a Franz Liszt tone poem of the same name. As for the Tchaikovsky opera, it didn't receive its official Met debut until Monday evening, when it took the stage under the watchful ear of the Kirov's Valery Gergiev.
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From a Galaxy Far Far Away, Tchaikovsky's Ivan the Rebel
By ANTHONY TOMMASINI [NY Times, 8 March 2006]
Though Tchaikovsky's "Mazeppa" is a staple of the Kirov Opera at the Maryinsky Theater in St. Petersburg, it has made it only to the periphery of opera companies outside Russia. When the Kirov came to the Metropolitan Opera House in the spring of 1998 to present four Russian operas, "Mazeppa," the least well known, proved a stunning revelation. Conducted by Valery Gergiev, Tchaikovsky's epic about the 17th-century Ukrainian separatist Ivan Mazeppa seemed an anguished, probing and noble work.
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Mazeppa, Metropolitan Opera, New York
By Martin Bernheimer [Financial Times, 7 March 2006]
Tchaikovsky’s Mazeppa abounds in glorious melodies, thoughtful characterisations, rousing set-pieces, wrenching choruses and wondrous orchestral interludes, both snazzy and sombre. The ending, a mad scene for the gentle heroine culminating in a haunting lullaby, must rank among the composer’s finest inspirations. Still, US performances have been exceedingly rare (the first occurred in 1925), audiences scant. What do we know, after all, about Ukrainian separatists fighting Cossack landowners in the realm of Peter the Great?
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