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This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
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)