Recently in Performances
The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.
Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.
As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.
Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.
Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.
That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.
Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.
This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.
John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.
On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.
Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.
It might seem churlish to complain about the BBC Proms coverage of Pierre
Boulez’s 90th anniversary. After all, there are a few performances
dotted around — although some seem rather oddly programmed, as if embarrassed
at the presence of new or newish music. (That could certainly not be claimed in
the present case.)
I recently spent four days in St. Petersburg, timed to coincide with the
annual Stars of the White Nights Festival. Yet the most memorable singing I
heard was neither at the Mariinsky Theater nor any other performance hall. It
was in the small, nearly empty church built for the last Tsar, Nicholas II, at
As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.
A brilliant theatrical event, bringing Handel’s theatre of the mind to
life on stage
‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.
Asphyxiations, atrophy by poison, assassination: in Italo Montemezzi’s
L’amore dei tre Re (The Love of the Three Kings, 1913) foul deed
follows foul deed until the corpses are piled high.
The precision of attack in the opening to Beethoven’s Creatures of Prometheus Overture signalled thoroughgoing excellence in the contribution
of the CBSO to this concert.
When he was skilfully negotiating the not inconsiderable complexities,
upheavals and strife of musical and religious life at the English royal court
during the Reformation, Thomas Tallis (c.1505-85) could hardly have imagined
that more than 450 years later people would be queuing round the block for the
opportunity spend their lunch-hour listening to the music that he composed in
service of his God and his monarch.
Two of the important late twentieth century stage directors, Robert Carsen and Peter Sellars, returned to the Aix Festival this summer. Carsen’s A Midsummer Night’s Dream is a masterpiece, Sellars’ strange Tchaikovsky/Stravinsky double bill is simply bizarre.
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