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The New York Festival of Song, founded in 1988 by Michael Barrett and Steven Blier, offers unique evenings of songs rarely heard, or songs rarely heard in conjunction with one another.
Falstaff and Die Meistersinger are among the pinnacles if not the pinnacles of nineteenth century opera. Both operas are atypical of the composer and both operas are based on a Shakespeare play.
To borrow from the great Bard himself: “the course of true love never did run smooth.”
Florencia in el Amazonas was the first Spanish-language opera to be commissioned by major United States opera houses.
Gaetano Donizetti wrote a comedy or dramma giocoso called Le convenienze ed inconvenienze teatrali (The Conventions and Inconveniences of the Theater), which is also known by the shorter title, Viva La Mamma!.
Vincenzo Bellini composed Norma to a libretto that Felice Romani had fashioned after Alexandre Soumet’s French play, Norma, ossia L'infanticidio (Norma, or The Infanticide).
In order to mount a successful production of Alban Berg’s opera Wozzeck, first performed in 1925, the dramatic intensity and lyrical beauty of the score must become the focal point for participants.
Félicien David’s intriguing Le désert, for vocal and orchestral forces plus narrator, was widely performed in its own day, then disappeared from the performing repertory for nearly a century. In recent days,
During this exploration of music from the Austro-German Baroque, Florilegium
were joined by the baritone Roderick Williams in a programme of music which
placed the music and career of J.S. Bach in the context of three older
contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and
Heinrich Biber (1644-1704).
Charismatic charm, vivacious insouciance, fervent passion, dejected
self-pity, blazing anger and stoic selflessness: Zazà — a chanteuse
raised from the backstreets to the bright lights — is a walking compendium of
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
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