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The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
19 Apr 2009
John Mark Ainsley Sings Schubert at Jerwood Hall, London
Schubert’s music ‘suggests a rippling movement and by the side of the rippling a flowering: it has the variety and unsurprising naturalness of moving water and springing herb’ (Capell) and this same naturalness and sense of flowing ease are the very qualities which make John Mark Ainsley such a special interpreter of this composer.
Ainsley has been singing and recording Schubert for some 17 years now, and in place of the youthful ardour which characterized his early performances we now find a deeper, more subtle understanding, yet still with his distinctive tenderness and perfect balance between ‘Ton und Wort.’ His recent major successes on the operatic stage seem to have informed his interpretations to a very marked degree, especially in the more tempestuous songs.
This carefully designed programme had enough of the more ‘charming’ songs to please the casual listener, yet the finest singing (and playing) came in those set to the intense, melancholy poetry of Mayrhofer. ‘Atys’ is an unjustly neglected song, its fervid telling of the story of the youth driven to madness, castration and suicide by the goddess Cybele not exactly ideal material for lunchtime, but in this performance the ‘unergründlicher Schmerz’ was made real in singing replete with subtlety as well as fervour. ‘Lied eines Schiffers an die Dioskuren’ is one of Mayrhofer’s more serene lyrics, and Schubert’s exquisite setting of it drew from Ainsley the most perfect mezza-voce, secure legato line and sense of reverence for the music’s natural phrasing.
As a rule, I can live quite happily without tenors singing the likes of ‘Wilkommen und Abschied’ and ‘Auf der Bruck,’ but here we were treated to performances which concentrated much less on the hearty, ‘I—have—a jolly—horse’ aspects and much more on the dramatic narratives. The lines ‘Und Zärtlichkeit für mich—Ihr Götter! / Ich hofft’ es, ich verdient’ es nicht!’ (Tenderness, for me? Ye Gods! I hoped for that, but didn’t deserve it!’) in the former were sung with the kind of heartfelt openness which always endears a singer to an audience, and in the latter the intensity of the ride was finely assuaged with a last line in which the phrase ‘süsses Ahnen’ was given just enough intensity to make it moving, but without any false swagger or artifice. Roger Vignoles played the rapid chords as though they were the easiest music ever composed.
‘Die Sterne’ was for me the high point of the recital, with such perfect legato line, such sensitivity to the words and such, for want of a better term, ‘Innigkeit,’ that it’s hard to imagine a better performance of this wonderful song. We came back to Mayrhofer again for the encore, with ‘Erlafsee’ an ideal choice to close a programme so finely balanced between ‘wohl’ and ‘weh.’ This first in a series of Schubert recitals will be broadcast on BBC Radio 3 on Tuesday May 12th at 1.00, with the remaining recitals performed on Thursdays April 23rd and 30th and May 7th.