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In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
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.