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Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
06 Apr 2008
ANNA BOLENA – English Touring Opera
In a climate in which bel canto opera seems to be enjoying a steady and welcome revival, ETO opened their current season with a welcome production of Donizetti's historically dubious account of the latter days of Anne Boleyn. The company's...
In a climate in which bel canto opera seems to be enjoying a steady and
welcome revival, ETO opened their current season with a welcome production of
Donizetti's historically dubious account of the latter days of Anne Boleyn.
The company's fine Maria Stuarda three years ago is still fresh in the
memory, and one wonders whether the company might be brave enough to complete
the 'set' with a staging of Roberto Devereux before too long.
The basic framework of Soutra Gilmour's versatile set serves all three
productions on the current tour, and for this opera the set's skeleton had
tapestry panels mounted upon it which slid in and out of place to create
different spaces and enable characters to conceal themselves from one
In the title role, Julie Unwin grew in confidence and vocal security as
the evening progressed – at the start her tone, dynamics and vibrato
overpowered the musical line a little, but by the middle of the first act she
had settled into it and she gave a particularly convincing performance in the
lyrical moments of the later scenes.
She was, however, overshadowed by outstanding performances from two
colleagues: Julia Riley's Jane Seymour was rich-voiced, elegant, poised,
passionate and credible – and although Luciano Botelho's dryish tenor is
not quite beautiful, he made almost effortless work of Lord Percy's
stratospherically high-lying passages. I suspect that this is one of those
roles which, when sung even half-decently, is guaranteed to bring the house
down – however Botelho really did deliver it with style and panache.
In fact, while most ETO offerings boast one or two particularly strong
performances, I forget the last time they fielded such a strong all-round
cast. Former ENO principal Riccardo Simonetti was a commanding Henry VIII,
while Jonathan Pugsley's Lord Rochford and Serena Kay's Smeaton were also
Performing in an orchestration which suits the forces available (and with
several cuts to the score) the company has put together a fine orchestra this
time around, too, with some particularly good woodwind – Michael Lloyd
ETO's decision to perform in the original Italian – a rare exception to
their usual English-language policy – was perhaps a wise one, as this
repertoire benefits from the Italian vowel sounds combined with the bel canto
melodic lines. However the scrolling surtitles were laughable, full of
misspellings and oblivious to what might unintentionally cause amusement. But
overall this is a creditable account of an opera which has been unjustly
neglected in the country from which it takes its inspiration.
Ruth Elleson © 2008