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Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
13 Feb 2009
Fritz Wunderlich — The Legend
Some opera aficionados who take a look at the contents of this two-CD Fritz Wunderlich collection from Profil might shake their heads in bemused wonder: the German lyric tenor as Turridu, let alone Pinkerton and Rodolfo?
And if those fans don’t care for operetta, the second disc won’t persuade them to take a chance.
But they should. Profil provides scanty documentation, but the performances apparently derive from 1954-56. Wunderlich, in other words, sings in the freshest voice possible, but with the taste and elegance of his prime. And why not a tasteful, elegant Turridu sung in German (as are the Puccini selections)? Wunderlich traces a beautiful melodic line in the opening serenade, and when it comes to Turridu’s ode to wine (here called a “trinklied”), the tenor pours out that joyful richness heard in his famous versions of “Granada.” Unfortunately, that already brief number suffers a brutal cut, as does Turridu’s farewell to his mother. The duet with Santuzza whips and stings, but as Turridu’s mama has some lines, Profil should have identified the roles taken by the credited Marlies Siemeling and Ingeborg Wenglor. Theo Zilken takes Sharpless to Wunderlich’s Pinkerton, a portrayal that even en Deutsch rivals Pavarotti’s for tonal beauty with the appropriate hint of Yankee arrogance. It’s less of a surprise that Boheme’s Rodolfo fits Wunderlich like a glove, and again he has a good partner in the Marcello of Herbert Brauer, although Trude Eipperle’s Mimi can sound strained. Disc one ends with four selections from Mozart’s early Zaide, two with Maria Stader, and here Wunderlich reaffirms that he is without peer as a Mozart tenor.
Amusingly, Profil identifies the first two tracks of the 17 on disc two as being more Mascagni from Cavalleria Rusticana. “Komm in die Gondel” and “Treu sein, das liegt mir nicht” actually come from Johann Strauss II’s Eine Nacht in Venedig. The conventions of German operetta mean that for some ears, such as your reviewer’s, almost an hour of tenor numbers risks boredom, but such is Wunderlich’s grace and control that tedium never manifests itself. Surely Die Fledermaus has never heard a more attractively sung Alfred.
As mentioned above, Profil does itself and consumers no favors with the packaging. The only track listing, in painfully small font, appears on the back of the jewel box. The slim booklet merely provides only a generic biography, in German and English (of a sort).
Snap this up, Wunderlich fans who do not have the selections, and any other lovers of truly great tenor singing.