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Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
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