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Vividly gripping drama is perhaps not phrase which you might expect to be used to refer to Bellini's I Puritani, but that was the phrase which came into my mind after seen Annilese
As part of their Madness season, presenting three very contrasting music theatre treatments of madness (Handel's Orlando, Bellini's I Puritani and Sondheim's Sweeney Todd) Welsh National Opera (WNO) presented Handel's Orlando at the Wales Millennium Centre on Saturday 3 October 2015.
Benjamin Britten met Mstislav Rostropovich in 1960, in London, where the cellist was performing Shostakovich’s First Cello Concerto. They were introduced by Shostakovich who had invited Britten to share his box at the Royal Festival Hall, for this concert given by the Leningrad Symphony Orchestra. Britten’s biographer, Humphrey Carpenter reports that a few days before Britten had listened to Rostropovich on the radio and remarked that he ‘“thought this the most extraordinary ‘cello playing I’d ever heard”’.
Sir John Falstaff appears in three plays by William Shakespeare: the two Henry IV plays and The Merry Wives of Windsor.
The opening performance of the 2015-2016 season at Lyric Opera of Chicago was the premiere of a new production of Mozart’s Le nozze di Figaro under the direction of Barbara Gaines and featuring the American debut of conductor Henrik Nánási.
Opera Philadelphia mixes boutique performances of avant-garde opera in a small house with more traditional productions of warhorse operas performed in the Academy of Music, America’s oldest working opera house.
Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
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
07 Sep 2008
Prom 68 — Russian Fairy Tales from Rimsky-Korsakov and Stravinsky
Kashchey is a gnarled old ogre who imprisons a beautiful young princess in his gloomy underworld. It’s classic psychodrama. Kashchey has supernatural powers, so how can the Princess be saved ?
This Prom paired Rimsky-Korsakov’s Kashchey The Immortal with Stravinsky’s The Firebird, contrasting two resolutions to the fairy tale that’s captured Russian imaginations for centuries.
Rimsky-Korsakov’s short opera focuses on relationships. Kashchey is
immortal, but he has a daughter, Kashcheyevna, who holds the secret to his
death. She’s just as cold and conniving as he is but she falls in love
with the Prince. The Storm Knight brings all four of them together, and the
Princess’s love triumphs. Kashcheyevna weeps, and her tears break the
spell that makes Kashchey invincible. Love conquers all, yet again.
It’s simple but affords opportunities for lushly Romantic musical
effects. Music as pictorial as this illustrates so well that meaning can be
visualised even if you don’t speak Russian. Kashchey’s music is
shrilly angular, evoking his harsh personality as well as the traditional way
he’s portrayed, as a skeleton, the symbol of death who cannot actually
die. The Storm Knight is defined by wild ostinatos, even though he’s
more of a plot device than a character. Some of the most interesting music,
though, surrounds Kashcheyevna. When she sings, there are echoes of Kundry,
or even Brünnhilde. Harps and woodwinds seem to caress her voice, so when her
iciness melts, we sympathise. While the other roles verge on stereotype,
Kashcheyevna is more complex, and Manistina impressed.
Stravinsky’s The Firebird, written a mere four years after Kashchey
The Immortal, inhabits an altogether different plane. While
Rimsky-Korsakov’s music embellishes the vocal line, Stravinsky’s
floats free. It “is” the drama. The ballet evolves from the music
rather than the other way round. Music for dance has to respect certain
restraints, so it’s necessarily quite episodic, but Stravinsky
integrates the 21 segments so seamlessly that the piece has lived on,
immortal, as an orchestral masterpiece. Vladimir Jurowski is still only in
his mid 30’s but has established a reputation for intelligence and
sensitivity. Watching him conduct this piece was instructive : he moves with
the grace off someone who understands how this music connects to dance. His
gestures were understated, yet elegant, his left hand fluttering to restrain
the sweep of the strings and keep the tone transparent. This pinpointed how
Stravinky wrote cues for physical movement into the music itself. Circular
woodwind figures translate into shapes of curved arms, flurries of pizzicato
into rapid en pointe. Dancers must hear levels in this music closed to the
rest of us, but Jurowski’s intuitive approach helps us appreciate its
The Firebird is a magical figure which materialises out of the air,
leading te Prince to Kashchey’s secret garden. Unlike the ogre, the
Prince is kind and sets the bird free. He’s rewarded with a magic
feather. This time the Princess and other captives are liberated by
altruistic love. It’s purer and more esoteric, and Stravinsky’s
music is altogether more abstract, imaginative and inventive. Jurowski gets
great refinement from the London Philharmonic Orchestra, with whom he’s
forged a very close relationship in only a year of being their Chief
Conductor. The solo part for horn, for example, plays a role in the music
like that of a solo dancer. Textures around it need to be clean as they were
here, so its beauty is revealed with poignant dignity. The rest of the
orchestra plays barely above the point of audibility, until the flute enters
carrying the horn’s melody. Later there’s more magic, when the
double basses and cellos are plucked quietly, building up towards the
crescendos which sound for all the world like the joyous tolling of great
bells. In the finale, trombones and trumpets hail the moment of liberation.
The trumpeters stand upright, so their music soars above the orchestra,
projected into the auditorium with superb, dramatic effect.
Kashchey the Immortal by Viktor Vasnetsov