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Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
Michael Grandage's production of Mozart's Le nozze di Figaro, which was new in 2012, returned to Glyndebourne on 3 July 2016 revived by Ian Rutherford.
Said and done the audience roared its enjoyment of the performance, reserving even greater enthusiasm to greet stage director Christophe Honoré with applauding boos and whistles that bespoke enormous pleasure, complicity and befuddlement.
‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.
07 Jul 2009
Benjamin Britten: A Time There Was. . .
With its’ title taken from the composer’s Suite of English Folk Tunes, Op. 90, Tony Palmer’s film Benjamin Britten: A Time There Was
is a solid documentary assembled from interviews, rehearsal clips, photographs and other audio-visual materials to create a vivid portrait of the composer.
A Time There Was
is refreshingly straightforward, without artifice to alter the emphasis implicit in the documentation itself. The comments of family members are touchingly revealing. Some of the details are remarkably pithy about the environment in which Britten grew up, and Palmer is good not to editorialize. Details take shape within the context of the film. For example, Britten’s cousin Elsie’s comment about the composer’s prescience might sound out of place, but Palmer’s inclusion of it underscores some of Leonard Bernstein’s remarks about Britten’s music, and touches like these are entirely characteristic of the film.
Originally released in 1979, just three years after Britten’s death, this issue on DVD makes the film available to new audiences. (A comprehensive filmography is available at www.tonypalmer.org.) More than that, the release demonstrates the strength of Palmer’s film, which holds up well after three decades. While some of the footage in A Time There Was
has a grainy look, that quality contributes to the overall feel of Palmer’s film in bringing forward firsthand materials to document his subject. In terms of the concept and sense of the whole, A Time There Was
remains a fine, convincing portrait in film. Unlike some more recent film biographies, it lacks some of the aspects of the biopic by remaining close to the subject. The narrative is implicit in the images and pacing Palmer brings to the screen. The director is present in the presentations, not as a rear of a head asking questions in interviews or contributing a narrative to hold the images together. The images lead one to the other, and the narrative is found within the careful editing of the source material.
In addition the rehearsal clips give a sense of Britten working on his music in ways that others could not convey as effectively. In addition, the judicious selection of musical examples helps to anchor the film nicely in the sonic world Britten created. Not everyone would choose the same examples, but Palmer achieved a representative variety, which not only gives those unfamiliar with Britten’s music a useful introduction, but also serves to remind those who know the repertoire to return with renewed interest. For example, Britten’s contributions to film may not be the entire basis for his reputation, but the fact that he worked in this idiom is useful information. More than that, his efforts are not without interest, especially in the clip which Palmer used from the film The Way to the Sea.
At the same time, the treatment of the relationship between Britten and Peter Pears is sensitive and balanced. It is neither condescending nor apologetic, and that is as it should be. As appropriate as it now seems, such a balanced approach seems to be remarkable for its time, and the result stands well, decades after Palmer originally released the documentary.
While a fine body of primary and secondary materials exist in print to document Britten’s life and works, this documentary brings certain aspects of his career to life in ways that film does best. To Palmer’s credit, his films on Ralph Vaughan Williams, Malcolm Arnold, Igor Stravinsky, and others have earned his praise, and the release on DVD of the present documentary about Benjamin Britten stands well with the others. A solid film when it was first issue, this newly issued DVD continues to make available an important and engaging resource on Britten.
James L. Zychowicz