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This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
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.
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