Recently in Performances
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.
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on
Friday night was the latest in the Coliseum’s recent run of new and
co-produced productions, and also renowned director Peter Jones’ latest foray
into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the
same arts festival in Coventry for which Britten’s War Requiem was
written and in fact the two works have something in common, dealing with the
issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s
Die Fledermaus several debuts are notable to both American and Chicago
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera
House risks laying the house’s Director of Opera open to charges of
antiquated mores and misogyny: for he seems to suggest that the women are just
as bad, if not worse, than their seducer — and that a soulful man who seeks
genuine love is likely to find his ‘ideal beloved’ forever out of reach.
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
28 Feb 2007
Nicole Cabell, St John’s Smith Square, London
The Rosenblatt Recital Series, which presents concerts around London from artists ranging from the well-known to the brand-new, last week showcased Nicole Cabell, the glamorous 29-year-old winner of the 2005 Cardiff Singer of the World competition.
Accompanied by pianist Simon Lepper, the American soprano tackled an impressive variety of
repertoire. Her greatest strengths, it seems, lie in poetry and contemplative song. Three Liszt
songs – ‘Es muss ein Wunderbares sein’, ‘Die Lorelei’ and ‘Enfant, si j’étais roi’ – held the
audience spellbound as the voice seemed to become one with the accompaniment and indeed the
piece. Later in the concert, Ben Moore’s Keats setting ‘Darkling I listen’ created a similar magic.
Yet in two Puccini favourites – ‘Quando me’n vo’’ (one of Cabell’s calling cards) and ‘Chi il bel
sogno di Doretta’ — her tone was monochrome and there was little sense of character portrayal.
‘Padre, germani, addio’ from Idomeneo was imbued with urgency, while Bolcom’s ‘Amor’, was
delivered with mischievous sparkle and wit. However in Gounod’s ‘Je veux vivre’ and (as an
encore) Puccini’s ‘O mio babbino caro’, Cabell failed to set the hall alight, despite an unfailing
sense of style and poise; her elegant, sophisticated presence just did not sit well with teenaged
heroines, nor with the child subject of three songs from Bernstein’s ‘I hate music’.
In other offerings from American music theatre, Cabell proved herself as an entertainer; she
struck just the right balance between schmaltz and musicality, a rare gift when presenting a
mixed recital programme to a largely classical audience.
This was by no means a flawless recital, and perhaps the variety of repertoire was simply too
great. Cabell’s Liszt interpretations alone proved her to be a young artist of exceptional promise;
perhaps next time she should focus on such a strength and present it to the best of her ability.