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Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
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.