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Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.
As the editor of Opera magazine, John Allison, notes in his editorial in the June issue, Donizetti fans are currently spoilt for choice, enjoying a ‘Donizetti revival’ with productions of several of the composer’s lesser known works cropping up in houses around the world.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Richard Strauss may be most closely associated with the soprano voice but
this recording of a selection of the composer’s lieder by baritone Thomas
Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings
can be rendered with equal beauty and character by the low male voice.
Bernarda Fink’s recording of Gustav Mahler’s Lieder is an important new release that includes outstanding performances of the composer’s well-known songs, along with compelling readings of some less-familiar ones.
Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen.
This live performance of Laurent Pelly’s Glyndebourne staging of
Humperdinck’s affectionately regarded fairy tale opera, was recorded at
Glyndebourne Opera House in July and August 2010, and the handsomely produced
disc set — the discs are presented in a hard-backed, glossy-leaved book and
supplemented by numerous production photographs and an informative article by
Julian Johnson — is certainly stylish and unquestionably recommendable.
Recorded at a live performance in 2012, this CD brings together an eclectic
selection of turn-of-the-century orchestral songs and affirms the extraordinary
versatility, musicianship and technical accomplishment of mezzo-soprano
Once I was: Songs by Ricky Ian Gordon features an assortment of
songs by Ricky Ian Gordon interpreted by soprano Stacey Tappan, a longtime
friend of the composer since their work on his opera Morning Star at
the Lyric Opera of Chicago.
Alfredo Kraus, one of the most astute artists in operatic history in terms of careful management of technique and vocal resources, once said in an interview that ‘you have to make a choice when you start to sing and decide whether you want to service the music, and be at the top of your art, or if you want to be a very popular tenor.’
In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi.
With celebrations of the Verdi Bicentennial in full swing, there have been
many grumblings about the precarious state of Verdi singing in the world’s
major opera houses today.
In the thirty-five years immediately following its American première at the Metropolitan Opera in 1914, Italo Montemezzi’s ‘Tragic Poem in Three Acts’ L’amore dei tre re was performed in New York on sixty-six occasions.
Few operas inspire the kind of competing affection and controversy that have surrounded Mozart’s Così fan tutte almost since its first performance in Vienna in 1790.
During his career in film, opera, and operetta, Richard Tauber (1891 - 1948) enjoyed the sort of global fame that eludes all but the tiniest handful of ‘serious’ singers today.
Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.
21 Jan 2007
DITTERSDORF: Il barone di rocca antica
For those OperaToday readers prone to fantasies about being a member of royalty with one's own cozy opera house tucked away on the hereditary estate, this Hungaroton DVD will enable that desire. Filmed in August 2005 at the royal palace at Gödölló, Il barone di rocca antica, an operetta giocosa from Karl Ditters von Dittersdorf, requires only four singers.
Which is fortunate, because the stage at the royal palace appears to be about the size of a dressing room at the Metropolitan Opera.
In this small space two couples cavort: a "noble" couple and a pair of servants. Librettist
Giuseppe Petrosellini (who saw the libretto first set to music by Mozart's buddy Salieiri)
manages to juggle enough complications to keep the inevitable happy romantic resolutions
postponed until the end of two acts, each about 50 minutes long. As great a wonder as that is,
Ditters von Dittersdorf matches that level of craftsmanship, with consistently delightful and
charming, if hardly original, music.
Pál Németh serves as both director and conductor. In the latter function, he leads a very small
ensemble of musicians on period instruments in a delightful performance. As director, however,
he has given every performer some bit of business to do at almost every moment, so that no one
ever seems to simply listen to another character. In such a constricted space, one camera can
easily pick up on all this hyper-activity, and it becomes wearing after a while.
The baron of the title is sung by tenor Tamás Kóbor, possessor of a light but pleasant tenor. His
character spends an inordinate amount of time hectoring his manservant Giocondo. Gábor Bretz
takes this role, his somewhat rough baritone appropriate for a pre-Figaro manservant. Beatrix
Fodor performs as the baron's female counterpart, Beatrice. She sounds a bit overripe at her
entrance, but as the evening progresses she settles down into a pleasing singer. The best of the
cast takes the role of Giocondo's ladyfriend, Lenina. Edit Karoly has an attractive mezzo and a
naturally charming stage persona.
The booklet essay by Katalin Tamás should be a model of its kind: extremely informative about
every aspect of the opera, and stylishly written as well.
Yes, ultimately Il barone di rocca antica is a curiosity, but it makes for a most entertaining one
on this DVD. If one feels like playing the lord or lady of the manor for a couple hours, pop this in
the royal DVD player.