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As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on
Friday night was the latest in the Coliseum’s recent run of new and
co-produced productions, and also renowned director Peter Jones’ latest foray
into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the
same arts festival in Coventry for which Britten’s War Requiem was
written and in fact the two works have something in common, dealing with the
issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s
Die Fledermaus several debuts are notable to both American and Chicago
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
Opera in the British Isles might seem a rather sparse subject in the period 1875 to 1918. Notoriously described as the land without music, even the revival of the native tradition of composers did not include a strong vein of opera.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera
House risks laying the house’s Director of Opera open to charges of
antiquated mores and misogyny: for he seems to suggest that the women are just
as bad, if not worse, than their seducer — and that a soulful man who seeks
genuine love is likely to find his ‘ideal beloved’ forever out of reach.
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
01 Dec 2008
Alberto Cantù's booklet essay for the Dynamic release of Umberto Giordano's rare one-act opera Marcella quotes a review from the day after the 1907 premiere, which indicates that the premiere's audience's expectations of "greater originality of melodic invention" went unmet.
In Timothy Alan Shaw’s translation (not always smooth), Cantù goes on to note that Marcella came in the “final phases of [Giordano’s] creativity” - though the composer would live until 1948.
Although Puccini would go on to write more masterpieces, from La Fanciulla del West to Turandot, by 1907 much of the great Italian operatic tradition had become tired and formulaic. Giordano’s Marcella isn’t bad; some parts of the score, especially the orchestral sections such as the prelude to the last of the three episodes, are quite attractive. But the predictability of the musical language and dramatic situations drains any life from the proceedings.
In the opening scene for ensemble, set in a Parisian restaurant, a prince rescues a woman of the streets being pursued by obscurely motivated ruffians. The two fall in love, and in the second episode they are living in bliss in the country when a visitor from the prince’s country comes to tell him he must return home to save his country. In the third episode, they share (and we endure) their sad farewell to each other. Bits of operas from Manon Lescaut to La Traviata and any number of others can be discerned in this threadbare scenario.
Dynamic’s live August 2007 recording from the Martina Franca Festival might still make a case for giving Marcella an occasional listen if the two singers in the leads had more to offer. As the title character, Serena Daolio seems to always be just about ready to slip off the note, or slide up into it. Her lines also tend to trail off into breathy exhalations. Danilo Formaggia’s big, blustery tenor, in the role of Giorgio, provides volume for passion. Their final duet faintly echoes the great climax to Giordano’s greatest work, Andrea Chenier. Conductor Manilo Benzi and the Orchestra Internazionale d’Italia do an excellent job with the best Giordano’s score has to offer, a varied and colorful orchestral fabric.