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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.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
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