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LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.
Most opera professionals, including the individuals who do the casting for
major houses, despair of finding performers who can match historical standards
of singing in operas such as Aïda. Yet a concert performance in Aspen
gives a glimmer of hope. It was led by four younger singers who may be part of
the future of Verdi singing in America and the world.
One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.
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