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Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
15 Feb 2009
Kurt Weill’s Der Kuhhandel at Volks Oper Wien
The Kurt Weill-composed operetta Arms and the Cow premiered in 1935 under the title A Kingdom for a Cow, according to Erwin Berger’s booklet essay for this DVD of a 2007 VolksOper Vien staging of David Pountney’s production.
Berger, in a “traduction” by Uwe Lukas Jäger, doesn’t go on to explain the change in title, nor does he comment on the most alluring bit of music in Weill’s score: a strong foretaste of the melodic material that would become the standard “September Song,” which Weill would compose after his move to the USA to start his career as a Broadway composer. Try track 22, “Juans Lied.”
A failure in its initial run, Arms and the Cow may have been a bit too pointed in its satire for an operetta - even relevant, of all things, in that frequently frivolous genre. Set in a very Teutonic-inspired version of Latin America, the story revolves around corrupt leaders and the arms salesman who profit off them, with poor Juan and his intended bride caught up in the machinations when Juan’s cow, his one claim to property and success, is taken by the government as a tax penalty. Read that line as many times as possible and then just shrug it off. Everything ends happily, at any rate.
How much of the operetta seen here resembles the original production can’t be easily judged. A brief note in small font on the back cover of the DVD case credits the libretto to Robert Vambery “in a revised text by Reinhard Palm.” That would explain the references to Botox and the axis of evil. Pountney doesn’t lay on the politics too heavily, thankfully, letting the cartoonish characterizations and frequently incomprehensible plot developments bubble along, comically enough. The most amusing character is the arms salesman Mr. Jones, in a performance by Michael Kraus primarily delivered in German, with the odd English exclamation and expletive. Kraus somehow manages to convey an “Ugly American” attitude even barking and growling in German. Carlo Hartmann spends most of the staging in a suspended divan, portraying the lazy and ethically dubious President Mendez. Most every operetta has at least one role for a comic actor to sink his/her teeth into and tear it into gruesome shreds (think Frosch in Fledermaus). Here Wolfgang Gratschmair provides the dental workout, chewing the scenery as Ximenez, an aide to the president. The young lovers, as is also often the case, are a fairly dull pair, and neither Dietmar Kerschbaum as Juan nor Ursula Pfitzner as his love Juanita have impressive voices, both being uncomfortably edgy in the top range.
Weill’s score has too little of his inimitable voice, but the music is still the best part of the show, from the mock national anthem that serves as the curtain raiser, through the romantic laments and comic patter numbers, to the toe-tapping ensemble finale. Christoph Eberle and the Volksoper forces serve it up with energy and style.
The packaging leaves much to be desired, with the cast listing and other credits only found on the back of the jewel case. Some sloppy editing results in misspellings in the subtitles. In fact, the menu screen offers the option to “select titel” (sic).
At about two hours and twenty minutes, Arms and the Cow is overlong, and while always at least mildly entertaining, only Weill completists or indiscriminate lovers of operetta may want to spend that much time fretting about Juan’s kuh.