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With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on
Friday night was the latest in the Coliseum’s recent run of new and
co-produced productions, and also renowned director Peter Jones’ latest foray
into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the
same arts festival in Coventry for which Britten’s War Requiem was
written and in fact the two works have something in common, dealing with the
issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s
Die Fledermaus several debuts are notable to both American and Chicago
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
Opera in the British Isles might seem a rather sparse subject in the period 1875 to 1918. Notoriously described as the land without music, even the revival of the native tradition of composers did not include a strong vein of opera.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera
House risks laying the house’s Director of Opera open to charges of
antiquated mores and misogyny: for he seems to suggest that the women are just
as bad, if not worse, than their seducer — and that a soulful man who seeks
genuine love is likely to find his ‘ideal beloved’ forever out of reach.
12 May 2009
Verdi and Boito at the Rome Academy of Santa Cecilia — Angels and Demons in an Unusual Setting
By sheer coincidence, the Academy of Santa Cecilia — one of the most authoritative symphonic orchestras in Europe — planned a rather unusual concert in the same days (May 3-7) when just in the very same auditorium there was the world première of a movie expected to be a Hollywood blockbuster — the thriller titled “Angels & Demons”.
In addition, Maestro Antonio Pappano gave to the concert a title quite similar to that of the movie: “Angels & Demons”. This did ingenerate some confusion in the press. Opera Today seldom deals with symphonic concerts. However, this was a very special opportunity: an appetizer of what Pappano could do if he would conduct a fully fledged performance of Arrigo Boito’s Mefistofele. I do not know whether Pappano has ever conducted the full opera in a stage performance.
Mefistofele is an “opéra maudite”, viz . an opera over which a bad spell seem to hang . It was a fiasco when his 7-hours-plus first version was premiered on March 5 1868. It was a major hit when drastically revised, the present version (about two and a half hours of music) was stage on October 4 1875 in Bologna. This second version was successful nearly until World War Two. Then, it disappeared nearly all over. In the USA, I remember a good production constructed by the York City Opera around the bass Norman Triegle in the 1970s. In Italy, only a few conductors (Riccardo Muti, Stefano Ranzani, Nicola Colabianchi) appear to like it. A few years ago Mefistofele was produced at La Scala but only for a few performances. In 2005 it was on the stage of the small Maruccino theatre of a little provincial town, Chieti; there Maestro Colabianchi took up the challenge. A few months later, Maestro Muti conducted two open air concert performances of excerpts of the opera in Ravenna and Tunisia. In 2007, a glittering Giancarlo Del Monaco production inaugurated the season of the Palermo’s Teatro Massimo with Maestro Ranzani in the pit.
I consider Mefistofele an uneven masterpiece , the only real attempt - with the second part of Mahler’s Eighth Symphony - to capture the spirit of Goethe’s poetry. Of course, only an attempt due to the immensity of Goethe’s Faust. There are naïve parts and uncertainties - something rough, not fully polished. But this adds to its charm.
Even in the decades when Mefistofele was hardly seen on stage, “The Prologue in Heaven” was often performed as a concert piece. It is a 25 minutes superb summary of what will happen next in the opera. Maestro Pappano , and the orchestra and chorus of the Santa Cecilia chorus- as well as the Rome children chorus - provided a real heavenly panoply in the opening of the “The Prologue”. The trumpet fanfares were sumptuous, the percussion thunderous, the brass and harps angelic: the audience felt to be in the Celestial Heights. Then with arrival of the Uruguayan bass Elwin Schott and his sarcastic and burlesque “Scherzo” we were taken down- to Hell. Schott is a bass with a well-tempered timbre; his grumblings sound even more blasphemous than in Triegle’s or Furlanetto’s performances. Pappano , the orchestra and the double chorus reach solemnity in the “Chorus Mysticus” scene immediately followed by a sharp confrontation in the challenge scene to ascend again to Celestial Heights when the Cherubins arrive and chase the tempter. A vibrant full of fire conducting which makes me ask for more, for a full production. The concert hall has 2800 seats ; the audience was enthusiastic.
Mefistofele’s “Prologue” was precede by a rarely performed Verdi’s Te Deum . Verdi was a tormented atheist, whilst Boito was a deeply rooted and contented atheist. His Te Deum is a late composition - first performed in 1898 when he was well in his 80s. It was not an old man’s search for after-life-peace. With a bit of irony , Verdi wrote that it was meant as the Audience’s (with capital “A”) Thanksgiving for not having to listen to his opera any longer . Twenty years after his Requiem, Verdi is back in Church but once more, like in a melodrama his music deals with human, very human passions more than with Godly feelings. The Chorus is a grand-opera chorus counterpointed by a soprano voice and a masterly orchestration . Pappano is, first of all, an operatic conductor. Hence his highly dramatic.
The initial part of the concert was Beethoven’s First Symphony. Pappano lengthened the tempos: the symphony lasted nearly 45 minutes instead of the 30-35 in most recorded performances . He added pathos in the “adagio” and “andante con brio” but last the Haydn’s and Mozart’s XVII century elegance in the “minuetto”.