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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.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
16 Nov 2008
Wozzeck stands ankle deep in water on the flooded stage of the Bavarian State Opera, above him hovers a huge, movable box – the dingy apartment he shares with Marie and their adolescent bastard – and he is surrounded by a freak-show worthy of a George Groszian nightmare and worse.
Michael Volle portrays Georg Buechner’s and Alban Berg’s
character with unparalleled intensity, such a beautiful baritonal sound even
in the most harrowing moments, and such ease beneath the tortured surface,
that it is almost too good. He did everything as one could hope for in a
Wozzeck on stage, but he never elicited much pity and never seemed quite as
helpless-hapless as Wozzeck probably should. In a way, his great musical and
dramatic strengths came at the expense of the character.
Something similar could be said about Andreas Kriegenburg’s
direction – or more specifically the phenomenal lighting of Stefan
Bolliger and how it works with the continuously fascinating set of Harald B.
Thor and Andrea Schraad costumes: It is so absorbing, so good and stimulating
to look at, it might distract from the psychological development of the
characters. On Monday night, it also distracted from some so-so singing
(Jürgen Müller underpowered and underwhelming as Drum Major and Clive Bayley
with an average night as the Doctor) and in doing so, it unleashed the drama
unto the audience in a visceral way that even Wozzeck-lovers might not have
Because with this would-be quibbles taken care of, the fact remains that
this was a stunning premiere, a spectacular performance, and indeed a
striking success for the Munich Opera’s second new production under the
new general director Klaus Bachler. Kriegenburg, a theater director, had done
only two operas before (which I have not seen), but here he hit a nerve in
just the right way. Instead of exerting a willful personality, ideology, or
aching modernization on Wozzeck, he gives us an internalized picture (set
roughly in the time of the play’s premiere) where the world as Wozzeck
sees it is how the audience sees it. Except for Marie and his son, the
characters are distortions of their personalities, one more disturbing than
the next. The crowds are hordes of unemployed, shadows in the world of
Wozzeck’s steadily slipping sense of reality. When the
apartment-within-the-stage begins to very subtly shift left and right, the
visualization of this losing grasp on reality becomes so perceptible,
it’s as if you could touch it. I felt like I needed a splash of cold
water or a slap in the face myself.
Amid this Michaela Schuster’s Marie altered between pleasurable
cantabile and appropriate crudeness, Wolfgang Schmidt earned merits with his
cleanly sung, morbidly obese captain, and Munich’s tenor-for-everything
Kevin Conners delivered a fine, sonorous Andres. Wozzeck was also a good
night – to the hesitant surprise of the Munich critics – for
music director Kent Nagano.
Speculations about his contract not being renewed are only slowly
residing, discussions about a rift between the music- and general director
are still indulged in with tabloid-like diligence by the feuilletons. But
this performance was one for a mark in his supporter's good books.
Nagano’s strengths emerge best in modern works where clarity is part of
the musical success.
The orchestra, apparently well rehearsed, gave the music
an elastic, clear treatment; the score sounded taut and diaphanous. Only very
occasionally was the orchestra too loud; more often it was very sensitive.
When Nagano waded onto stage, barefoot and his trousers rolled up, he
received as warm a reception as I’ve heard him get in Munich. Only
Kriegenburg and his team got more – wholly absent of boos, too, perhaps
a novelty for a premiere of a modern production in Munich.
If any Wozzeck production can convince the hesitating masses to listen to
this difficult 20th century masterpiece, it would have to be this one.
Jens F. Laurson