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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.
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.