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Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic
When Italian director Damiano Michieletto visited Covent Garden in June this year, he spiced Rossini’s Guillaume Tell with a graphic and, many felt, gratuitous rape scene that caused outrage and protest.
07 Apr 2009
Cavalleria Rusticana and I Pagliacci at the MET
The current revival of Cav and Pag at the Met went off like clockwork, with all the comfort and reliability that implies for a repertory house and all the success these tried and true verismo stalwarts merit.
No one was under par but there were very few surprises, few thrills or
chills. But each opera did conceal one surprise — one shock — one
small but significant vocal revelation — that made the evening other than
The spotlight on the curtain just before it rose on Franco
Zeffirelli’s almost too-accurate Sicilian mountain village drew from us
soft gasps of alarm, but it was just an announcement that José Cura, though
suffering from a cold, would be singing both leading tenor roles in any case.
(Domingo, his mentor, used to make such announcements all the time in the
’70s.) In the event, his opening serenade did indeed sound labored
— but when was the last time you heard any tenor, even in the pink of
health, sing that aria of sated love with an easy, leggiero line? For the rest
of the night he was fine, a bit gruff — as he usually is — and with
no ringing at the top, which some might miss. It’s a perfectly decent way
to put these parts over. Gigli fans will mourn, but he’s been dead a long
Ildikó Komlósi as Santuzza and José Cura as Canio in Mascagni’s Cavalleria Rusticana.
I was interested in the ladies of the evening. Ildikó Komlósi sang the most
mellow-sounding Herodias of my experience last fall — no
eldritch screamer but a chic, handsome hostess having trouble controlling her
adolescent daughter — and I wondered how that enjoyable take on Strauss
would translate to Mascagni’s tormented peasant. Komlósi is a fine
actress, and hurled herself about the story and the stage, but her essentially
lyric instrument (though she also sings Amneris and Eboli, which call for
power) did not at first warm to its task, to the expression of desperation
— Santuzza is always on the verge of hysteria, she says nothing calmly,
she opens her mouth and her whole anguished life is in her utterances.
Komlósi’s beautiful voice and Germanic (okay, Hungarian) vibrato are
pleasing, but she did not become intense until the duets with Cura and Alberto
Mastromarino’s dry, not very threatening Alfio pushed her to forget
herself and go wild. Santuzza has tripped up many experienced singers; I did
not feel she had it quite down, but she is a voice and an artist of
No part is too small for Jane Bunnell to make it interesting — on such
character performers do repertory companies rely, and her dignified Mamma Lucia
was a pleasure. But then out came Lola, a youngster from the Met’s
Lindemann Young Artists’s Program, one Ginger Costa Jackson, tall, slim,
very pretty, a bit too whorish about the sashay (an error made by too many
Lolas — she’s a respectable wife in a prudish small town, and no
one but Santuzza suspects she’s anything else), but — the voice! No
light mezzo here (as one is used to), but a deep, penetrating, perfectly
produced contralto with exciting colors. She would make quite an effect in a
range of Handel roles, trouser or otherwise.
Jane Bunnell as Mamma Lucia and José Cura as Canio in Mascagni’s Cavalleria Rusticana.
The lady in Pagliacci — there’s only one, remember
— was Nuccia Focile, a charming soubrette in the past (an adorable
Despina in Cosí fan tutte), who sang a mediocre Nedda, the voice
unsupported, the coloratura imprecise in both “Stridono lassu” and
the play-within-the-play. The only time she rose to the demands of this
curious, death-defying figure was during her impassioned love duet with Silvio
— and here was the evening’s second surprise: Christopher Maltman.
This striking and sexy British baritone, a noted lieder singer as well as a
Billy Budd and a specialist in Mozart roles, filled the house with an easy,
dark, focused, thrilling baritone and was an equally thrilling actor. Too, he
sang with the most perfect Italian enunciation of the night. This is a voice
with star quality and a rare musical intelligence, a singer one is eager to
hear again in a dozen roles or in recital. Beside him, Cura and Mastromarino,
the evening’s Canio and Tonio, sounded effective but ordinary —
they wrung no sobs from me.
Pietro Rizzo had a firm hand on the dramatic flow of the evening in the pit;
the resonant celli seemed especially to flower, and I clearly heard echoes of
Wagner in Pagliacci, whenever Tonio was conniving. The Zeffirelli
staging with all its animals and all its children and all its gradual dawn and
sunset lighting changes and all its clowning extras gives audiences a notion of
what grand opera used to be about, and why young directors have been so eager
to change it. A ringing Canio, a gutsy Santuzza and a real Nedda would make it