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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).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
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.
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.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
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.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
30 Oct 2008
Portraits of Domingo and Pavarotti
While the tributes and retrospectives continue to appear for the late Luciano Pavarotti, his sometime-colleague (if not rival) Plácido Domingo maintains a top-rank career, even including a contract with Deutsche Grammophon for new studio work.
Both tenors were blessed with distinctive, appealing instruments, and if the inclination might be to find Pavarotti’s voice more beautiful, Domingo often got the credit for being the more dramatic, impassioned performer.
Decca’s The Pavarotti Story covers the singer’s career amply, with one disc dedicated to his studio recordings of the great tenor arias, another full of Italian song and such sacred favorites as the Bach/Gounod “Ave Maria.” Two “bonus” discs fill out the set; one is a 37 minute interview with a John Tolansky, whose obsequious style can be deduced from the first track quotation, “Luciano Pavarotti, you have been a legend in your lifetime…” The second bonus disc begins with the first 5 recordings Pavarotti made in a studio, released on an EP in 1964 (Decca had already released these tracks on the earlier compilation, “For Lovers Only.”) That disc is comprised of tracks, mostly duets, that don’t do Pavarotti’s “legend” much credit. The “Pearlfishers” duet with Nicolai Ghiaurov should have been a winner, but the slow pacing makes for a lugubrious tone. “Nessun dorma!” with Carreras and Domingo, from the first “Three Tenors” affair, becomes a scream fest. And better to pass over the tracks with U2, Elton John, and even Frank Sinatra (at the end of his career) in silence.
Ah but the first two “non-bonus” discs confirm the legend. In Bellini and Donizetti, the voice has a delectable sweetness, whether punching out the high C’s in the Fille du Regiment aria or silkily spinning out the long legato lines of “A te o cara.” The Puccini arias have a sensuous masculinity; the Verdi selections showcase Pavarotti’s beefier side (including a credible “Nium mi tema.” And those who fall asleep in Idomeneo need to listen to the gorgeous, detailed “Fuor del mar.”
True, the arrangements on the songs disc get a bit tacky (especially those with Henry Mancini), but no one will ever quite spin through Rossini’s “La Danza” as Pav did, or make “O sole mio” sound so fresh again.
The set comes with one lavish booklet with a biography and track notes, and another with a full discography.
Domingo’s disc, Pasión Española, presents 13 selections in a popular Spanish song form called “copla,” according to the booklet essay. Although the disc credits 5 composers, no distinctive voice emerges. Most of the tracks feature extensive instrumental introductions, with many a familiar gesture of rhythm and melody, like a cartoon setting up a Spanish locale. The lyrics tend to trite expressions of frustrated or ecstatic love, and much bitter jealousy.
A whole disc of coplas, in other words, goes a long way. But if listeners were to hear a track or two individually, they might well be caught up in the conviction Domingo brings to the project. No, he doesn’t sound like a young man, but age seems to have only deepened the bourbon-hue of his tenor (often called “baritonal”), and for sheer vocal production Domingo makes the disc enjoyable.
Miguel Roa and the Orquesta de la Communidad de Madrid provide the professional accompaniment.
If somehow an opera lover needs one set of Pavarotti at his best, they can be satisfied with either “For Lovers Only” or this “The Pavarotti Story.” For all but his most devoted fans, there are better recordings in the Domingo library to enjoy than Pasión Española.