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London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO. True, Opera North will bring its concert Ring to the South Bank, but that is a somewhat different matter. Comparisons with serious houses, let alone serious cities, are not encouraging, especially if one widens the comparison to nineteenth-century Italian composers. Quite why is anyone’s guess; the composer is anything but unpopular. More to the point, Wagner and Mozart should stand at the heart of any opera house’s repertory. They can hardly do so if they are so rarely performed.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
Though all big opera is called grand opera, French grand opera itself is a very specific genre. It is an ephemeral style not at all easy to bring to life. For example . . .
That’s Walter Benjamin of the Frankfort School [philosophers in the interwar period (WW’s I and II) who were at home neither with capitalism, fascism or communism].
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