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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.
26 May 2009
Zeffirelli’s New “Pagliacci” Without “Cav” But With Motorbikes
The new Franco Zeffirelli’s production of Ruggero Leoncavallo “Pagliacci” reached the Teatro dell’Opera di Rome on May 19 : I will be on stage in the Italian capital every night until May 27th . Then, it will continue a worldwide tour: its debut was in Florence in the 2008 Fall. It has already visited Moscow and Athens. It is rumored to reach the MET next seasons.
Leoncavallo never attained anything else remotely approaching the success of “Pagliacci”, though he wrote a dozen of other operas and operettas. “Pagliacci” is normally plaid in a double bill with Pietro Mascagni’s “Cavalleria Rusticana”, as they are both short and kindred in spirit. Artistically, the combination represents the apex of the Italian “veristic” movement; commercially the double bill constitutes a salable “ham and eggs” staple for many an opera house. The “Pagliacci”’s Prologue is considered the very “manifesto” of “verismo” aesthetics It is known that Mascagni never appreciated the idea of the double bill. Zeffirelli broadly agrees with him. Albeit he has staged “Cav” and “Pag” in several theatres , including the “Met”, and also directed a movie with the two operas, most recently he has produced different versions of “Pagliacci” either alone or with a ballet (to fill the evening; “Pagliacci” lasts 70 minutes). In the 1980s, for instance, in a La Scala production, Zeffirelli placed the plot during Italian fascism and completed the performance with the Nino Rota ballet “La Strada” (after Federico Fellini’s movie). In the 1990s, in Rome “Pag” was a stand-alone show; the plot was placed under a highway bridge or by-pass in Southern Italy. In this new production, “Pagliacci” is a blighted Neapolitan suburbs where motorbikes (“lambrettas”, but also high speed Japanese motos) cross the stage, prostitutes of all races sell their ware, drug pushers are in the crowd of nearly 200 (double chorus, children chorus, extras).
The show is grand and also elegant and with Zeffirelli’s usual care for details. There is a special feature in the staging : the first act is quasi-neorealistic (inspired by Rossellini and De Sica movies of the 1940s); the second act is fellinian (viz in an atmosphere of Fellini’s movies). A real touch of genius which shows how Leoncavallo, although assertive “verista”, was approaching visionary expressionistic lands.
There a very close entente with the musical director Gianluigi Gelmetti whose wand demonstrate how brilliant is the score (in spite of what some reviewers starte); the use of motif’s point to Wagner’s influence (also present in the Canio’s role), the melodies are subtle and well-judged, the orchestra is used with elegance and the choruses (in Rome under the guidance of Andrea Giorgi) well-polished. The Prologue is a real stroke of genius. Gelmetti underscored the rhythmic élan of the main theme whilst Zeffirelli had the curtain abruptly torn aside to carry the audience into the kaleidoscopic world of the strolling players. The perfect “unison” between director and conductor adds value to the agonizing sorrow when Canio (Stuart Neill) takes on the second main them , his desperate “Ridi, Pagliacci”. Finally, the Colombin play is performed as it should be : a self-contained musical jewel with dance-like style including Nedda-Colombina (Myrtà Papatanasiu) minuet, Taddeo (Seng-Yyun Ko) light hearted waltz tune and duet where the comic parody has as undertone the dramatic thematic accompanied from the same scene in the first act and the underlying seriousness is clearly suggested.
The orchestra responded very well to the challenge of giving a demonstration that “Pagliacci” is not a second class score for cheap summer performances by travelling companies moving from resort to resort but a XX century masterpiece. Stuart Neill is big generous American tenor with the voice to fill the huge Teatro dell’Opera; his timbre is very clear and his acting better suited to Canio than to La Scala recent “Don Carlo” Myrtà Papatanasiu is a good soprano with a very nice voice emission but lacks the volume required by the Teatro dell’Opera. Effectuive Seng-Yyun Ko and the other.
The audience was thrilled as shown by the many curtain calls