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Vividly gripping drama is perhaps not phrase which you might expect to be used to refer to Bellini's I Puritani, but that was the phrase which came into my mind after seen Annilese
As part of their Madness season, presenting three very contrasting music theatre treatments of madness (Handel's Orlando, Bellini's I Puritani and Sondheim's Sweeney Todd) Welsh National Opera (WNO) presented Handel's Orlando at the Wales Millennium Centre on Saturday 3 October 2015.
Benjamin Britten met Mstislav Rostropovich in 1960, in London, where the cellist was performing Shostakovich’s First Cello Concerto. They were introduced by Shostakovich who had invited Britten to share his box at the Royal Festival Hall, for this concert given by the Leningrad Symphony Orchestra. Britten’s biographer, Humphrey Carpenter reports that a few days before Britten had listened to Rostropovich on the radio and remarked that he ‘“thought this the most extraordinary ‘cello playing I’d ever heard”’.
Sir John Falstaff appears in three plays by William Shakespeare: the two Henry IV plays and The Merry Wives of Windsor.
The opening performance of the 2015-2016 season at Lyric Opera of Chicago was the premiere of a new production of Mozart’s Le nozze di Figaro under the direction of Barbara Gaines and featuring the American debut of conductor Henrik Nánási.
Opera Philadelphia mixes boutique performances of avant-garde opera in a small house with more traditional productions of warhorse operas performed in the Academy of Music, America’s oldest working opera house.
Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
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