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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.
21 May 2009
Lieder and Opera meet in Hugo Wolf
Lieder and opera are different worlds. But understanding the differences helps us appreciate what makes each form distinct. Hugo Wolf’s songs come close to bridging the genres. They’ve been described as “miniature operas” where dramas are distilled into compact form.
The Wigmore Hall is hallowed ground for Lieder. Built in 1901 for Bechstein,
it is one of the world’s great recital halls, where many great singers
have appeared, even though it seats only 450. It’s the ambience that
draws them. They’d make more money in a big arena, but the Wigmore Hall
is a special experience. It’s small enough that interaction between
performers and audience is direct and intimate. This is the ethos that makes
Lieder so special. It’s intensely personal and nuanced : song through a
microscope to speak, but imbued with warmth and feeling.
Christian Gerhaher is a favourite with the Wigmore Hall audience. On this
evening Anna Netrebko and Dimitri Hvorotovsky were scheduled to sing elsewhere
in town, impacting on sales, so the Wigmore Hall wasn’t sold out as
usual. Gerhaher was singing Hugo Wolf’s Italienisches
Liederbuch, with his regular pianist, Gerold Huber and a young soprano,
The 46 songs in the collection form a narrative, or even a cycle. Together,
they form a kaleidoscope of “Italian” life, romanticized through
Austro-German ears.. Hugo Wolf never fulfilled his dream of going to Italy, but
each song is full of vividly imagined incident. Dissolute monks seduce girls
whose mothers trust men in robes, a girl longs for “older men”
– aged 14!. Each song is like a moment in a larger story. Der schöne
Toni’s eating himself to death because Tonina has dumped him, and a
man’s heart jumps clean out of his chest, running off to see his
Plenty of drama, then, in these songs, which Wolf plays up exuberantly with
witty piano commentary. They lend themselves to more dramatic treatment than do
more introspective Lieder. Indeed, much of the impact would be lost if they
were performed without a lively sense of fun.
Gerhaher was in good form. His voice is richly resonant, yet flexible enough
that he takes Wolf’s tricky rhythms with ease. Yet these songs are still
fundamentally, Lieder, where the action is inward. Gerhaher was most impressive
in songs where the singer has to hint at deeper mysteries. For example, Schon
streck’t ich aus im Bett, where the lover jumps out of bed to play his
lute. Wolf sets the last stanzas with a strange, meandering lilt which evokes
the strumming of the lute but also the text which pointedly mentions that the
singers has walked away from many girls, his music “wafted away in the
wind”. It’s no serenade.
Lieder is private, almost silent expression. There’s no orchestra, set
or plot to compete with, so the dynamics are different. Mojca Erdmann is young,
who’s still having to prove herself with her voice, so naturally
she’s more inclined to a declamatory approach that highlights the
technical side of her singing. Her flourishes in ‘Ich hab’ in
Penna’ would sound impressive in the theatre, but overwhelm the balance
in the song. True, the song’s about a girl bragging about her many
admirers, but it’s more effective with a touch of subtlety.
As the first song in the set goes, ‘Auch kleine Dinge’,
“even small things can delight”. “Think only of the
rose”, it continues in delicate tones, “it’s small but smells