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Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
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.