Recently in Performances
Director Robert Carsen’s 2012 production of Verdi’s Falstaff, here revived by Christophe Gayral, might be subtitled ‘full of stuff’ or ‘stuffed full’: for it’s a veritable orgy of feasting from first to last - from Falstaff’s breakfast binge-in-bed to the final sumptuous wedding banquet.
If Strauss’s operas of the 1920s receive far too little performing attention, especially in the Anglosphere, those of the 1930s seem to fare worse still.
The 67th edition of the prestigious Festival d’Aix-en-Provence opened on July 2 with an explosive production of Handel’s Alcina followed the next night by an explosive production of Mozart’s Die Entführung aus dem Serail.
O/MODƏRNT is Swedish for ‘un/modern’. It is also the name of the festival — curated by artistic director Hugo Ticciati and held
annually since 2011 at the Ulriksdal’s Palace Theatre, Confidencen — which aims to look back and celebrate the past ‘by
exploring the relationships between the work of old composers and the artistic and intellectual creations of modern culture’.
Matthias Goerne and Menahem Pressler at the Wigmore Hall, London, an intriguing recital on many levels.
It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
03 Oct 2008
Die tote Stadt at San Francisco Opera
Korngold’s third opera Die tote Stadt premiered in 1920 in Cologne, the composer a mere 23 years old. Back then, opera remained a living art form, with the likes of Strauss and Puccini keeping the public excited about new works.
Korngold’s third opera Die tote Stadt premiered in 1920 in
Cologne, the composer a mere 23 years old. Back then, opera remained a living
art form, with the likes of Strauss and Puccini keeping the public excited
about new works. The Met, not wanting to miss out on any of the excitement,
immediately grabbed this odd piece for its American premiere only a year
later. Korngold’s next opera Das Wunder der Heliane premiered
in Hamburg in 1927 but its generic musicality and moralistic satire failed to
ignite enthusiasm on either side of the Atlantic. Never mind though, it was
time to write movie music.
After its initial Met performances, Die tote Stadt had to wait
more than fifty years to again seduce American audiences with the heavy
nostalgia that permeates Korngold’s score. This time it was a brave
excursion into rare but revered repertory by America’s only adventurous
company of the time, the New York City Opera, where the 1975 Frank Corsaro
staging remained in its repertory until 2006. San Franciscans had to wait
even longer for Korngold’s enigmatic work.
Die tote Stadt is a masterpiece, at least in the hands of a stage
director able to superimpose the real and the imaginary, of an indulgent
conductor able to sustain its unending waltzes and revivals of a single tune,
of a tenor able to sing loud and long and high, and of a soprano able to do
the same as well as impersonate a cabaret dancer. All this the San Francisco
Opera brought over to us from the Salzburg Festival where it originated in
2004, with a brief stop in Vienna to pick up soprano Emily Magee.
Die tote Stadt is a tour de force for everyone involved.
The formidable role of Paul, the bereaved husband of the dead Marie, belongs
these days to Torsten Kerl, who continues on to London with this superb Willy
Decker production. Frank, Paul’s friend and finally rival for the
attentions of the dancer Marietta, is the third of the opera’s
formidable roles, particularly as it is tied to the Pierrot song and antics
of Fritz who taunts Paul in Marietta’s cruel commedia
dell’arte improvisation on death and resurrection. The staging of
this complicated scene (as well with the entire opera) was entrusted to and
effectively realized by Meisje Hummel, an assistant for the Salzburg
Emily Magee (Marietta)
There is no doubt that the piece casts its spell from the first note. The
San Francisco audience gave its immediate and full attention to
Korngold’s rich sound, conductor Donald Runnicles lovingly pulling
forth its thick and weighty sonorities from San Francisco Opera orchestra.
The big tune from the opera, “Marietta’s Lied” comes fairly
early but it is really a duet for Paul and Marietta (though it is far better
known as a stand alone concert aria for soprano), and this tune comes back
many, many times, finally as Paul’s wrenching farewell to his dead
The message of Die tote Stadt is simple – there is no
resurrection. It is a plain statement, unadorned with philosophic and
religious implications, forcefully presented with the full resources of the
post Romantic orchestra with expanded percussion. The Willy Decker production
assumes equal proportion in a conception that sometimes juxtaposes and other
times superimposes Paul’s present upon Paul’s past, resulting in
a confusion of life with dream that brings a whirling corporealness to what
is cold and dead. These are the brilliant designs of Wolfgang Gussmann whose
black boxes and shadowy abysses inhabited by Decker’s real people and
by their shadows. The production means are both enormous and delicately
Paul and troupe
Donald Runncles resonated mightily with Korngold’s over-the-top
sonorities. Torsten Kerl is justifiably famous for the role of Paul. Emily
Magee brought impeccable musical taste and character dimensionality as the
nemesis of the dead wife. San Francisco Opera’s particular
contributions to its performances of the Decker production were adequate. The
Frank of Lucas Meachem fulfilled the formidable needs of this role, though it
lacked the weight as antagonist to counter balance the musical and dramatic
personalities of the production’s protagonists. The Brigitta of
Katharine Tier was similarly out of balance. The well-performed
commedia scene added enormously to the many pleasures of this