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Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.
Dystopic vision of Carmen, brought to life by vibrantly gripping performances
Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.
Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?
The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.
New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.
I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.
Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.
There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.
On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.
Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.
Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.
R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?
A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.
It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.
San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.
In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
09 Nov 2008
Ernani and I Capuletti e I Montecchi on Dynamic DVD
Both these performances come from mid-2005. Teatro Regio di Parma presented the Ernani in May of that year; August saw I Capuletti e I Montecchi on stage at the Festival della Valle d'Itria di Martina Franca.
Sound and picture are excellent for both, and the performances, while not first-class, feature solid singing and tasteful productions. Despite those merits, neither DVD makes for a truly satisfying experience. Verdi’s early hit should be more exciting; Bellini’s take on the tragedy of Romeo and Juliet could use more style. The catalog doesn’t exactly run over with these two titles, on the other hand.
As seems to be typical of most of the productions Dynamic chooses to film, the sets tend to the spartan - neither of these have much scenery or even props. The budget, apparently, goes to costumes. For Ernani, Pier’Alli’s gorgeous designs put the ladies in satins of metallic red and gold, while the men wear form-fitting tunics of coordinating leather. Beautiful to look at, they also inhibit easy movement, as well as expressing much more of the creator’s taste and imagination than anything about the drama or the characters.
Not helping matters is a cast of strong voices but little stage personality. In the heroic tenor lead, Marco Berti manages the notes with an able but colorless instrument. If he sang with greater individuality, perhaps your reviewer wouldn’t mind so much his bland appearance and stiff stage deportment. Susan Neves shows a little more life as the love interest, Elvira, but why she inspires such mad lust from every man who sees her remains a riddle. Her singing is unsubtle but when she pours out the volume, she makes some impressive sounds. Carlo Guelfi and Giacomo Prestia, as the dark-voiced “bad guys,” Don Carlo and Silva respectively, growl and bluster appropriately. Pier-Alli really needed to spend a little less time with the needle and thread and more getting some inspired movement on stage. The elemental passions of this early Verdi work are done no favors here. Conductor Antonello Allemandi has the right ideas, however, in the pit with the Parma forces.
For the Bellini, director/designer Denis Knef decided to update the tale of the star-crossed lovers to some vaguely early 20-th century setting. The unchanging backdrop of worn stone edifices suggests a plaza in Verona. The men wear caps and fedoras, with dark suits, and some carry rifles. The aim simply seems to be to put a fresh spin on the timeless tale (albeit one told with some key differences from Shakespeare’s version). In the end, the updating is harmless but meaningless. Bellini’s music never quite reaches the heights of his masterpieces, with only the last scene really touching deeper emotional levels. Nonetheless, the two leads, including a mezzo in the pants-role of Romeo, get many opportunities to shine, and both Patrizia Ciofi (Juliet) and Clara Polito (Romeo) make the most of them. As the tenor bad guy Tebaldo, Danilo Formaggio impresses with a handsome, sizeable mid-range and able top. It’s unfortunate to note that if he were better looking, he might have a lot more opportunity to expand his career. Luciano Acocella and the Orchestra Internazioale d’Italia support the singers admirably.
Perhaps if director/designers had been switched, we could have had a rougher, more scintillating Ernani and a lusher, more entrancing I Capuletti e I Montecchi. What we have instead is decent but not all that exciting.