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On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
Though all big opera is called grand opera, French grand opera itself is a very specific genre. It is an ephemeral style not at all easy to bring to life. For example . . .
23 Jul 2008
First Night of the Proms
It’s not so long ago that the opening night of the Proms was given over to a single major choral work, but in more recent times it has become more of an overt opener to the season, presenting a taster menu of the themes running through the season’s subsequent 70-plus concerts.
Under their director Jiří Bĕlohlávek, the BBC Symphony Orchestra (with reinforcements from Royal College of Music Brass) opened the concert with Richard Strauss’s Festliches Präludium, a fine choice of overture for such an occasion, grandiose but joyful.
In the Mozart Oboe Concerto (K.314), soloist Nicholas Daniel was bright, witty and full of personality, with some beautiful pianissimi in the slow movement. The orchestral ensemble fell apart at the seams a little on more than one occasion, but overall it was a delight, not spoiled by the half-hearted applause between movements from somewhere in the upper reaches of the hall (which went on to mar the Strauss which followed).
Next on the bill were Strauss’s Vier Letzte Lieder, with a change of soloist: an indisposed Karita Mattila replaced by Christine Brewer. Brewer sings with the BBC SO fairly regularly, and she was a radiant Brünnhilde (in Götterdämmerung) last year at the Proms under Runnicles. Unfortunately, this time something didn’t quite come together – there was no sweep to the phrasing and her top sounded shrill under pressure. Finally in “Beim Schlafengehen” she found some complexity and ‘centre’, and for a few moments she cast a rapt spell... before heading off into “Im Abendrot” in indifferent, fudged German.
Although the Proms offer an eclectic mix of music spanning the breadth of the Western art music repertoire, with the occasional foray into other genres such as jazz, ‘world’ and folk, there are generally some threads to tie much of the season together. In particular, there is usually an attempt to celebrate significant anniversaries of composers’ births and deaths, and one such occasion for 2008 is the centenary of the birth of Olivier Messiaen – indeed, the Frenchman is virtually omnipresent over the course of the season, featuring in twelve more concerts ranging from solo organ works to a visit from the Berlin Philharmonic with the Turangalîla Symphony and a concert performance of the operatic magnum opus Saint-François d’Assise by the Nederlandse Opera.
To introduce the upcoming Messiaen-fest, the second half of the first-night concert was introduced by Wayne Marshall on the Royal Albert Hall’s mighty Willis organ in a fairly earth-shaking account of “ Dieu parmi nous”, the final episode from La Nativité du Seigneur.
Born just one day after Messiaen, the American composer Elliot Carter is still alive and – as far as I know – still composing, in his hundredth year. The UK première of his Caténaires was perhaps the highlight of the concert, a four-minute virtuoso perpetuum mobile for solo piano showing off Pierre-Laurent Aimard’s extraordinary ability. Prior to this, Aimard and the orchestra gave a light-footed and fresh performance of Beethoven’s Rondo in B flat major.
First Night of the Proms 2008
The Scriabin The Poem of Ecstasy, which concluded the evening was a well-chosen counterbalance to the opening Strauss – full of rich grandeur in brass and tuned percussion.
Ruth Elleson © 2008