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One of the initiatives for the community at the Lucerne Festival is the
‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber
music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
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.