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It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
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.