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Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.
22 May 2009
Norma by English Touring Opera
English Touring Opera continued its 30th anniversary celebrations with six concert performances of Norma, sung — unusually for ETO — in Italian, in a touring footprint which has some common ground with the ongoing staged tour of Katya Kabanova and The Magic Flute, but which is effectively an entirely separate tour.
The Norma was Yvonne Howard, a career mezzo whose recent forays into the soprano repertoire (notably, Leonore for Opera Holland Park and Lady Macbeth for Opera North) have been proving consistently successful. She undoubtedly sounds more soprano than mezzo these days, her voice brighter-hued than that of the Adalgisa, Alwyn Mellor, and her top notes easily produced and fully integrated with the rest of her voice. Though both women acquitted themselves admirably, it’s always difficult to ensure an adequate contrast between the two voices, and with this cast it didn’t come off; Mellor is a soprano, but a dark-toned, weighty one, and without knowing the plot it would have been impossible to tell which of the two women was meant to be the younger.
Under the baton of Michael Rosewell, Bellini’s score sounded classy, the four-square rhythms of the choruses crisp and poised, and the legato of the female-voice numbers elegant. The acoustic of Cadogan Hall has the benefit of making small forces sound full-bodied and substantial; I need not have worried about the volume limitations of an 18-strong chorus and an orchestra of fewer than 40. At the same time, solo voices can also carry well here, with Howard’s beautifully contained pianissimo in ‘Casta diva’ set off by the subtle orchestral texture. And the hall gives an immediacy to the opera’s more intimate dialogues, especially those between the two women; the soft opening section of ‘Mira, o Norma’ felt as though the audience were intruding upon a very private moment. One wonders whether the conversational style of the duets came across quite so powerfully at the tour’s larger venues, which included Exeter Cathedral.
Elsewhere the balance was more problematic, with the chorus tenors drowning out the women’s voices, and an excess of bassy orchestral sound threatening to overwhelm the tenor Justin Lavender in Pollione’s opening aria. Lavender was somewhat wooden and he failed to give the vocal line much shape; Piotr Lempa’s Oroveso was vocally adequate but rather stiff and characterless.
Considering the musical intimacy between the female voices, it was a shame that the opera was given in such strict ‘concert’ fashion. Though entrances and exits were made as necessary in a cursory step towards being semi-staged, the duetting singers always facing straight ahead and barely exchanging glances with one another.
Michael Rosewell [Photo courtesy of English Touring Opera]
The roles of Flavio and Clotilde were satisfactorily taken by Charne Rochford and Helen Johnson, who doubled as members of the chorus.
Onto the autumn, and ETO’s next project - in celebration both of its own anniversary and of Handel’s — will be the staging of five different Handel operas, in a tour which commences in October at the Britten Theatre at the Royal College of Music.
Ruth Elleson © 2009