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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.
16 Sep 2006
150 Years of Opera in Chicago
This is a very attractive book, which, in addition to the expected text, has many striking photos, a list of the operas performed in Chicago, indicating all the seasons in which each work was given, and a season by season chronology, limited to professional companies.
Usually, in looking at a book on an opera house, theater, or the history of opera in a given city, I find the appendices (especially the chronology or cast lists) to be the highlight of the book. This is not the case here, mainly because of the unusually high quality of the text, which comprises the greater part of the book, and partly because of the gaps in the chronology. As I started to read the text, I became more and more impressed with the unusual stylishness of the writing and its fascinating subject. It is the sort of writing where every line that you read demands that you keep going, and makes you read on and on. Robert Marsh also draws a wonderful self portrait, including an abiding love for Richard Wagner, apparently his favorite composer.
He later implies that he is an operatic Darwinist and a believer in the survival of the fittest. But, it has been my experience that operatic Darwinists tend to look at operas that were once popular but were eventually forced out of the repertory by newer works, through the prism of their own preferences, and this is what happens here. Marsh expresses no regrets at the fact that Meyerbeer was forced out by Wagner and Verismo, but fails to draw the logical parallel with many of Mozart’s operas having been forced out by Rossini, Donizetti and Verdi 100 years earlier.
Knowing from my own researches that Pacini’s Saffo was widely toured in the U.S. during the 1865-66 season, with performances in New York, Chicago, Cincinnati, Louisville and St. Louis, this is one of the first things I checked. Yet, when Marsh encountered Pacini’s Saffo in the 1865 season, he jumped to the conclusion that it was Gounod’s. He drew the same conclusion for the local premiere of Massenet’s Sapho in 1918, but identifies it correctly when it was given later.
The chronology has no casts, and is also missing a number of professional seasons reported in the local press. These include at least one that I know of by the New Orleans company which made frequent tours of the Northern and Eastern States. There also are several by Emma Abbott, and some by various other touring companies including Antonio Scotti, Fortune Gallo’s San Carlo Opera company, and the Boston National Opera Company. These overlooked seasons also impact the list of operas given in Chicago.
All considered, this title is a fine book as far as the text is concerned, but also one that could have benefited by having more effort spent on the appendices.