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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.
15 Jun 2009
Haydn’s Bicentenary : 20 Capitals Salute “The Creation” With Standing Ovations
The Austrian Ministry of Culture and the Committee for the Celebrations of
Haydn’s Bicentenary had a brilliant idea: on May 31st , the day of the
composer’s death, 20 symphony orchestras and/or opera houses performed
one of his greatest and best known oratorios Die Schöpfung (The
Because of different time-zones, Die Schöpfung day started
in New Zealand and ended in Honolulu. An earnest radio listener could enjoy the
different performances over 24 hours and appreciate the difference in
conducting as well as in singing. Opera houses were included because in certain
countries (e.g. Germany) Die Schöpfung is also staged as a music
drama: computer technology and animation are a superb support to show the
initial chaos , the creation of the animals, of the flowers, of the lakes, of
the rivers and of the mountain as well as the Eden garden with the passionate
Adam and Eve duet.
In Rome, the Orchestra Sinfonica - Fondazione Roma (OsFr) was selected for
the task. The OsFr is a peculiarity in the Italian musical landscape: it is the
only fully private symphony orchestra. It does not receive any State,
Regional., Provincial or Municipal support but it is financed by the Fondazione
Roma ( a nonprofit foundation) and by a few companies. It has 90 permanent
elements (average age: 30), a budget which is less than one-fifth of that of
the main symphony orchestra in the Italian capital (l’Accademia Nazionale
di Santa Cecilia) and a low- priced ticket policy to attract young and old
people with modest income (season tickets for 30 concerts vary from € 260
to € 90 according to the category). Its music director and permanent
conductor is Maestro Francesco La Vecchia, who is also principal guest
conductor of the Berliner Symphoniker. La Vecchia has been music director of
Opera Houses and symphony orchestras in Central Europe (Budapest), Latin
America (Rio de Janeiro) and Portugal (Lisbon). The OsFr started some eight
years ago after a EU-supported training program for young graduates from
European conservatories. It has gained an important place in the international
music scenes also due to its tournée in Germany, Poland and China.
In January, the Accademia di Santa Cecilia had offered a different version
of Die Schöpfung — performed by Frieburger Barochester conducted
by René Jacobs and with Julia Kleiter, Donat Havar and Johanner Weisser as
soloists. The difference, of course, is not in the score (both Jacobs and La
Vecchia conducted the full score without cuts or intermission) but in the
style: dry, albeit almost religious, Jacobs’; passionate (even in the
approach to religion) La Vecchia’s .
Die Schöpfung is well known. Thus, there is no need to provide
Opera Today readers with background on its composition, on its Austrian and
London premières and on its contents. Its three parts are operatic acts. In the
first and in the second, the three archangels Gabriel, Uriel and Raphael
observe the Creation by following very closely the biblical text. In the third
act, we are no longer witnessing from a distance the works of the Creator. The
scene is the Eden Garden. After an introduction of Uriel, the act is long love
scene of Adam and Eve that includes a duet supported by a choral background. As
Haydn planned, there are five characters but three singers: the bass and the
soprano are Raphael and Gabriel in the first and second act but become Adam and
Eve in the third act. The roles are taxing both for the duration (nearly two
hours of music ) and for the “virtuoso” singing — they imply
“coloratura”, “agility”, quite a few high Cs and many
Maestro La Vecchia recalls that in 1992 he had conducted Die
Schöpfung in the Amazonian Forest, at the vey confluence of the Rio Branco
with the Rio Petro. Over 10,000 Indios attended the performance thrilled by the
Haydn’s score. Most likely, the memory of that performance influenced
conducting on May 31st. In the first part, it is noteworthy how conductor,
orchestra and singers amplified the transition from the chaos (C minor) to the
newly lit world (A major) . In the second act, the emphasis is on the
descriptive imagery as in the portrayal of the animals: the cheerful, but rude,
trombone blast of the lion, the pouncing tiger, the placing grazing of cattle,
the sinuous music for the worm. The third act is less contemplative than
normally performed: the love between Adam and Eve is powerful, not merely
platonic; their duet is rapturous and timeless, an essential transition to the
glorious final chorus.
La Vecchia and the symphony orchestra had three excellent singers to work
with. Anita Selvaggio is a “soprano assoluto” better known outside
Italy than in her own country. Both as an archangel and as Eve she displayed a a remarkable flexibility in the upper extension and an extraordinary use of
messa di voce (a quality that many sopranos seem neither to care for
nor to practice enough). Michael Smallwood is an up-and-coming Australian tenor
with a delicate sensuous “legato”. David Wilson Johson is the best
known of the three soloists. He once again confirmed his talent and
Giuseppe Pennisi (Based On May 31st Rome Symphony Orchestra Performance)