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Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
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.