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Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
26 Jun 2009
Gőtterdämmerung in Venice and Kőln — Sex and Politics Behind the Berlin Wall
With Götterdämmerung, a co-production with the Köln Opera House created by Robert Carsen (stage direction), Patrick Kinmonth (sets and costumes) and
Jeffrey Tate (conductor), La Fenice approaches completion of the
La Fenice’s Ring, however, will not be
completed until next season because of complicated programming and budgeting
considerations. Consequently, the prologue, Das Rheingold, will be
seen in the lagoon after the downfall of the Gods and of the Gibichungs’
Kingdom. Moreover, although the Carsen-Kinmonth-Tate team remained unchanged,
many cast changes were made at La Fenice along with a revamping of the sets to
fit its smaller stage.
Chronologically, the Köln-La Fenice Ring is one of the first
to be staged in the 21st century. Its concepts are similar to those of the
“politically oriented” Rings that prevailed from the
mid-70s to the mid-80s, especially in Europe. This first of these
“politically oriented” Rings was the (nearly aborted) La
Scala production created by Luca Ronconi (stage direction) and the Pierluigi
Pizzi (sets and costumes) in 1974. The musical director, Wolfang Sawallisch,
objected to proceeding beyond Die Walküre. The entire project was revived
in Florence (with Zubin Mehta in the pit) in 1979-82. The most widely known of
the “politically oriented” Rings was the Bayreuth
“Centenary” production in 1976 entrusted to Patrice Chéreau and
Pierre Boulez. After four years in the “Holy Hill”, it became a
successful television serial that was also shown in regular movie houses. Now
whilst only photographs remain of the Florence production, the Chéreau-Boulez
Ring is available on DVD. It is fair to say that the saga lends itself
to a political allegory of industrial and political power, of lust for money
and for women, of Nazism’s rise and fall, a direction taken by Luchino
Visconti in his 1971 blockbuster film.
In light of this context, there is something old fashioned in the La Fenice-Köln production. Nevertheless, the Ghibichung Kingdom is not Hitler’s
Reich, but rather East Germany before the fall of the Berlin Wall. Red flags
are flying about the Royal Palace. The “nomenklatura” are dressed
in elegant attire of the '50s, accompanied by soldiers of the National
Peoples’ Army. Siegfried, Brünnhilde and the Norns, on the other hand,
are shabbily dressed. The Norns live in an attic filled with broken
furniture from the 1930s and the 1940s (an allusion to the defunct
Albeit attractive, the Rhinemaidens appear poverty-striken,
swimming in a polluted Rhine. As in many of Carsen’s production, politics
is mixed with a fair amount of sex. At daybreak, Brünnhilde begins her
passionate love duet by performing oral sex upon Siegfried. Hagen makes love to
Gutrune on Gunther’s royal desk (in the presence of her brother and
King). In the wife-swapping scene at the end of the first act, Siegfried
(disguised as Gunther) attempts to rape Brünnhilde before remembering his pact
with the King. The second-act wedding party initially appears as an orgy with
rivers of wine and spirits and ladies taking off their clothes.
In a similar
vein, the Rheinmaidens grope Siegfried all about his trousers. All of this heightens the coup-de-théâtre in the final scene. Brünnhilde is alone
on stage during the holocaust, the fire of the Royal Palace, the downfall of
the Gods and the flood of the river (cleansing corrupted Gods and corrupted
men-in-power). During the concluding passages, a huge waterfall covers the
stage. In short, although the concept goes back to the 70s, there are numerous
innovations in this Ring and this Götterdämmerung in
Although British, Jeffrey Tate possesses an Italian or Austrian conducting
style. He caresses the orchestra with gently slowing tempi. This clashes,
however, with the dramatic action-oriented stage direction. La Fenice’s
orchestra fares well; but it is not that of the Maggio Musicale Fiorentino
(which performed Götterdämmerung a few weeks ago) or of the Berliner
Philarmoniker (which will perform Götterdämmerung in Aix en Provence
in early July). Jayne Casselman was simply excellent, both vocally and
dramatically, as a vibrant Brünnhilde to be remembered for some time. Her
Siegfried, Stefan Vinke, performed well in the taxing third act; but in the
previous two acts he displayed vocal problems (especially with the Cs) and a
host of technical difficulties. He paled against Lance Taylor who performed the
role in the recent Florence production. A sexy Nicola Beller Carbone was a
vocally imposing Gutrune. And, the youthful Gabriel Suovane and Gidon Saks were
two well-rounded bass baritones, whom, I trust, we will hear often in the