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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.
Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.
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.