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‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
13 Nov 2008
A powerful, poignant Elektra at the Royal Opera House, London
“This won’t be a total Schlacht of sound” said the director, Charles Edwards, of this production. Instead, it’s a strikingly intelligent interpretation, focusing on the deeper aspects of the drama.
Despite his extensive experience, this is Mark Elder’s first
Elektra. He was adamant that the characterization should reflect the
music. Elektra’s part is surprisingly tender at times. Twisted by fate,
she’s become wild, but beneath the madness still lurks the real woman
Elektra might have been. This makes her tragedy all the more poignant. The
real drama here doesn’t lie in decibels. Orchestrally, this was superb.
Elder understands the inner dynamic of the music, grasping the fine detail
sometimes lost in the vast sweep. Harsh, dry percussion punctuates the
beating of the maids. They, too, are victims of the brutal regime. The fifth
maid, who protests, is destroyed, as Elektra will be. The playing was so well
judged that this would have made a superb recording, even without the
Yet what visuals ! A monstrous Bauhaus monolith is set at an awkward angle
against a Greek temple. These architectural fault lines remind us that
Elektra is powerful political commentary. Klytemnestra murdered Agamemnon to
seize his kingdom, but she can’t enjoy power, her nightmares pursue
her. Elektra is duty bound to avenge her father, but she’s irrevocably
warped by it, and cannot live past retribution. As for Orestes, who will now
be king ? Neither Strauss nor von Hofmannsthal make this explicit in the
opera, but they knew, and their audiences knew, Orestes continues to be
punished by the Gods. This production was conceived at the start of the Iraq
war although it references that turning point in European history, just
before the collapse of the Austrian, German and Russian empires. If anything,
recent events like the failure of the banking system, reinforce the point
that power is an illusion, easily destroyed. Nothing’s stable : Aegisth
whirls round, dying, in a revolving door.
In this palace, family values are dysfunctional. There are disturbing
sexual undercurrents in all relationships. Perceptively, however this
production doesn’t play up the kinkiness, but places it firmly in the
context of the power crazed society around the palace. Everyone is trapped in
this brutal situation. Hence the production accentuates the importance of the
maids and subsidiary characters, expanding them as silent roles.
Susan Bullock as Elektra is outstanding. Because this interpretation makes
her sympathetic, Bullock can develop the more subtle aspects of
Elektra’s personality. She’s no screaming mad harpie. There are
many traces of the woman she might have become. She mocks the maids for
having children, yet understands why Chrysothemis wants babies. The dynamic
between Elektra and Chrysothemis (beautifully realized by Anne Schwanewilms),
is lucidly defined. “Ich kann nicht sitzen und ins Dunkel starren wie
du “, cries Chrysothemis. It helps explain why, at her moment of
triumph, Elektra deflates. She has nothing to sustain her but vengeance and
must die when she achieves it. Her final dance is slow, barely perceptible,
as if she’s sinking into the very ground, carrying the “burden of
happiness” which no longer has meaning.
A scene from Elektra [Photo by Clive Barda]
Orestes is the finest part I’ve seen Johan Reuter play so far, and
it suits him well. So much more can be made of Klytemnestra and Aegisth than
Jane Henschel and Frank van Aken presented, but in theatrical terms this was
no real loss, as it didn’t pull focus away from the sisters and
Orestes, and the wider drama around them. Rarely does lighting merit a
mention, but this time it was exceptionally effective. Agamemnon features
prominently as a silent role, his “ghost” projected onto the
walls of his palace. When Elektra sings to Orestes of “Der milchige des
Monds”, a faint, but persistent light shines on the corrugated panoply
above her. It’s a tiny detail, easily missed, but that moment of beauty
throws the tragedy into high relief. This Elektra becomes more
profoundly moving, the more it unfolds.