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Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
19 Apr 2009
Pfitzner and Strauss by Staatskapelle Dresden
In the continuing series of releases to document the recorded legacy of the Staatskapelle Dresden, vol. 13 collects music by Hans Pfitzner and Richard Strauss with performances from 1939 through 1944.
This CD includes Pftizner’s Symphony for Large Orchestra in C Major, Op. 46, which was recorded in January 1941 and released on LP in March of that year. Conducted by Karl Böhm, this recording captures a performance by a conductor who knew the composer firsthand. This historic release benefits from nicely restored sound, which brings an exciting performance from a single recording session. If Pfitzner is known today more for his contributions to opera, particularly Palestrina, his efforts at symphonic composition are by no means insignificant. Among his three symphonies, the Op. 46 work in C major is certainly convincing. The heroic-sounding themes suggest a post-Romantic idiom, which certainly helped to keep this and other, similar works in performance during the Third Reich, when this recording was made. This Hänssler release presents the work in a single, continuous band, which could benefit from divided into three, in order to make the three movements of the Symphony more readily accessible.
The remaining pieces in this volume are works by Richard Strauss, a composer with whom Böhm had a long association. While Böhm’s later recordings are, perhaps more familiar to modern audiences, this reissue offers solid readings from the conductor’s younger days. Consistent with Böhm’s reputation for convincing performances, the recordings demonstrate his fine sense of pacing and dynamic balance, which is apparent even in these relatively early recordings. Don Juan contains a sparkle and verve that brings a sense of immediacy to this recording. The recording techniques for this 1939 recording have a nice, direct sound, with minimal hiss and nice ambience. The virtuosity of the Staatskapelle emerges in the fine ensemble and clear playing of this recording.
Another recording from 1939, the famous “Dance of the Seven Veils” from Strauss’s opera Salome is, perhaps, more familiar from Böhm’s later recordings on Deutsche Grammophon. In the 1939 recording, the excerpt sounds as if it were taken from a performance of the opera. The band opens with brisk tempos and prominent percussion. If the winds sound at first somewhat close to the microphones, they eventually balance the full string sonorities found later in this cut, which are nicely incisive. The percussion, especially the xylophone fit well into the full texture of the piece, and Böhm distinguishes nicely between the agitated rhythmic figure with which the dance begins, and the more romantic motives that intersect the music almost schizophrenically. The performance has a nice drive, which sets up the ending effectively.
Böhm’s performance of Till Eulenspiegels lustige Streiche dates from 1941, and is another solid reading. This more extended piece by Strauss gives further evidence of the Staatskapelle’s fine musicianship and also its longstanding familiarity with the composer’s music. The sound is particularly effective, reflecting in some ways the kinds of sounds found in film scores of the day. Here Böhm is as engaging as he would later evince a solid connection with tradition.
The final selection, which dates from 1944, is a more popular-sounding work of Strauss, the Festliches Präludium, Op. 61. Conducted by Kurt Striegler, this work includes Hanss Ander-Donath, organ, in a work which is certainly less familiar than the other selections found on this recording. Recorded in Dresden’s Frauenkirche, the sound is more resonant than that found in the other selections, which were made in the Semperoper. The venue is appropriate for the inclusion of the organ, which can be heard, but sometimes merges into the mass of sound Strauss used in this work.
With its nice combination of familiar works with less performed literature, this recording is more than an historic curiosity. The recordings are spirited and reflect the engagement of the musicians involved with them in works that drew audiences of period to concerts. This release certainly augments the ongoing audio-documentation of the Dresden Staatskapelle with these well-chosen selections made during the Second World War.
James L. Zychowicz