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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]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
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