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Los Angeles Opera's new production of Wolfgang Amadeus Mozart's The Magic Flute opened on November 23, 2013. Brought here from the Komische Oper in Berlin where it premiered last year, the production is a multimedia rendition in the style of the British theater group 1927.
As part of this year’s tribute to Benjamin Britten the Chicago Symphony Orchestra, Chorus, and soloists recently gave several performances of the composer’s War Requiem.
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.
One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).
At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.
20 Feb 2008
Anna Christy Triumphs in Lucia di Lammermoor at ENO
ENO doesn’t really go in for bel canto opera. Other than a Maria Stuarda back in the mid 1990s, the only Donizetti opera in the company’s repertoire in the recent past has been the popular L’elisir d’amore.
Dramatically, Lucia di Lammermoor is perhaps the composer’s finest work, and one of the most obvious precursors to Verdi, but it’s also one of the most problematic to cast, not least because of its daunting historical association with some of the greatest sopranos and tenors of the twentieth century.
If any opera company can be relied upon to make a credible ensemble piece of an opera that’s known for being a star vehicle, it’s ENO, and this first new production of 2008 is a triumph. It may not be orchestrally thrilling — Paul Daniel’s conducting doesn’t really allow any rhythmic variation or space, at least for the first two acts — but the staging is dramatic, emotionally involving and coherent, and the principal casting is almost faultless. All did not go entirely to plan on opening night; singing the chaplain Raimondo, Clive Bayley succumbed to a chest infection part-way through the first act and he continued to mime the role to the voice of his cover, Paul Whelan, who is due to sing two scheduled performances of his own at the end of the run, but who on this occasion sang from one side of the proscenium.
In David Alden’s bleakly monochromatic production, with sets by Charles Edwards and costumes by Brigitte Reiffenstuel, emotion takes second place to practical and political considerations. A fixation with the past — particularly childhood, and images of dead ancestors — prevents anybody from influencing their own future or bringing anything interesting or new into their lives. It has turned Enrico into a bitter, almost emotionless shell, with a perverse obsession with his naïve young sister, whom he keeps trapped in childhood before brutally ’breaking her in’ and throwing her into her unwanted marriage to Dwayne Jones’s soulless pretty-boy Arturo. Mark Stone’s sense of bel canto legato leaves something to be desired, but the darkness in his voice makes his Enrico deeply nasty.
Edgardo is really no better. While Enrico’s reaction to his surroundings and the events of his past have turned him introverted and cruel, Edgardo has become careless, rash and impetuous, which ultimately makes him almost as responsible for Lucia’s fate as her brother. Barry Banks’s vocal and dramatic power belie his small stature; his presence is easily a match for Stone’s, and his final aria sequence is thrillingly, beautifully sung.
The Mad Scene (Anna Christy in foreground)
In the tile role, Anna Christy’s remarkable physical portrayal and crystalline soprano — not audibly marred by the bronchitis which had prevented her from completing the dress rehearsal — make her utterly convincing as this troubled, abused young girl. There is something other-worldly about her voice, and its partnership with the glass harmonica (restored to the Mad Scene as Donizetti intended) creates a chilling resonance. Although the libretto refers to her passionate nature, passion is lacking; she is more of a dreamer. We first see her perched at one side of a miniature stage, gazing obliquely at the closed curtain; she is discovered there again following Raimondo’s revelation that she has murdered Arturo, and during the mad scene, after the curtain is pulled back to reveal her husband’s bloodied body, she gradually retreats into the “stage” area as if it is the realisation of a long-held dream.
Tellingly, the blood which drenches Lucia’s and Arturo’s wedding-night garb is almost the first colour that’s been onstage all evening; it serves as both a coup de theatre and a symbol of Lucia’s release through madness from the bonds of her dead, grey, repressed surroundings.
Ruth Elleson © 2008