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Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
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.
29 Mar 2009
Farinelli — Il Castrato
Naïve re-releases the soundtrack to the film Farinelli here in a handsome “book” casing, appending a second disc of highlights from the discography of Christophe Rousset’s recordings with Les Talens Lyriques, the artists also responsible for the soundtrack.
This is not, however, the typical film soundtrack of a sort of overture, perhaps a song or two, and various musical cues that don’t convey much out of the context of the film. Disc one consists of eleven complete performances of arias and overtures, from composers as famous as Handel and Pergolese (as the Naive booklet spells it) to the relatively obscure, such as Broschi and Idaspe (a particularly lovely piece, Ombra fedele anch’io).
A brief booklet note titled “Reinventing a castrato’s voice” details the unique feature of this soundtrack: the producers, in conjunction with the Institut de Recherches et Coordination Acoustique Musique, found a way in the studio to meld the voice of a counter-tenor (Derek Lee Ragin) with that of a soprano (Ewa Mallas-Godlewska). The intention was to capture something of what a true castrato sounded like, with an extraordinary range and a timbre that, at least supposedly, retained masculine authority while climbing stratospheric heights. Technically, IRCAM produced a seamless blend; it is not easily apparent when and where the two voices separate or shift primarily to one or the other singer. Nonetheless, there are many moments where Ragin’s counter-tenor, a somewhat reedy instrument, clearly predominates, and others where the feminine sound Mallas-Godlewska produces come to the fore. As an aural experience, then, your reviewer did not find the vocals suggesting any true sense of a castrato sound — with the big caveat that it is not entirely possible to know what that sound might have been, especially in the case of a superstar of his time, as Farinelli was.
The two tracks of arias from Handel’s Rinaldo exemplify the problem of the recording. In music as familiar as “Lascia ch’io pianga” or “Cara sposa,” listeners may well have heard superior versions by singers such as David Daniels or Maria Bayo. The innovation of a recording process that ostensibly captures a castrato sound can’t make up for the fact that the vocal performances captured here just aren’t all that special.
Rousset and his band play immaculately, and listeners who prefer the leaner, tauter sound of historically-informed performances will surely enjoy their efforts. While respecting the musicianship, your reviewer often longed for a richer string sound and more body overall.
Somehow, the selections on the second disc, covering many other Rousset and Les Talens Lyrique recordings, didn’t produce the same dissatisfaction. Overtures and other brief instrumental pieces by Lully, Johann Sebastian Bach and his son Carl Philip Emanuel, Purcell, Salieri, and others receive joyous, exuberant performances. Naïve makes its reason for the inclusion of this disc along with the Farinelli soundtrack clear, with the last pages of the booklet dedicated to cover shots of the CDs from which the music was taken.
In your reviewer’s memory, Farinelli was a very entertaining film. If a high-quality DVD of the film were available, that should receive due consideration, as the performances work very well in conjunction with the visuals. But the set does offer handsome packaging and that enjoyable second disc of material.