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Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
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.