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This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
19 Oct 2006
DONIZETTI: Alahor in Granata
A yellow banner in the lower right hand corner of the slip case cover (identical to that of the jewel box and booklet) proclaims this CD as the "first world recording" of Gaetano Donizetti's Alahor in Granata.
In today's market, a second will not be soon arriving, but not to worry. On the debit side, although the opera's score presents itself as the sturdy dramatic work of a talented craftsman, it lacks those glittering moments of genius that secured Lucia di Lammermoor a place in the core repertory, or even those flashes of inspiration that inspire occasional revivals of La Favorite or the "three queen" operas. To the recording's credit, however, a more enthusiastic or professional performance than this is hard to imagine.
Two excellent booklet essays detail the complex history of the opera's composition and the even more labyrinthine ongoings of the libretto, which passeth all understanding. Granada under Muslim rule provides the setting for betrayal, revenge, passion, and joy, all exhibited at the zenith of the range of human emotion. It is enough that there are plentiful opportunities for choral, ensemble, and solo vocal display. The Orchestra of the city of Granada may not be of world-renown, but they exhibit more than enough skill for Donizetti's score, and the seasoned leadership of Josep Pons supports the singers at every step.
When it came time to find singers, the opera really found luck on its side. The excellent Simone Alaimo has the title role, a baritone lead, and it perfectly suits this accomplished bel canto artist. As his sister, soprano Patricia Pace has a bright, dancing vocal timbre that sometimes falls a bit shy of the note, evoking a plaintive air (and a slight reminiscence of the great Edita Gruberova).
But the discoveries of this recording are two young singers, even younger in 1998, the time of the recording. Vivica Genaux now brings her quick, light mezzo to many of the world's best opera houses. Here she finds herself, if not for the first time (and far from the last) in pants. Her quickness and delineation have a heroic quality which make the cross-dressing entirely fitting. Juan Diego Florez now stars in the top opera houses, and here he is in his-mid-twenties. The tangy, sharp tone is unmistakable, as is his control and skill in fast, high music. Genaux and Florez have a long duet near the end of act one that alone makes this set a desirable acquisition for fans of contemporary singers.
So Alahor in Granata, after falling into many decades of obscurity, finds itself resurrected, and the living proof comes in a handsome recording in fine sound. Bel canto lovers and Donizetti worshipers, rejoice.