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Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
07 Aug 2009
Discovering Masterpieces of Classical Music — Béla Bartók: Concerto for Orchestra
In the Euroarts series Discovering Masterpieces of Classical Music: Documentary & Performance, the volume devoted to Béla Bartók’s Concerto for Orchestra stands out as a particularly accessible and well-executed release.
As with the other DVDs in this series, the contents of the disc are divided between an analysis of the work as its “Documentary” and a film of a performance of the work, and this combination makes the release particularly useful as a teaching tool. To the credit of Günter Atteln, who was responsible for it, the documentary nicely allows historical background to intersect with a description of the music. More than that, the use of iconography helps to give a concrete image of the composer and that is a fine springboard for the interviews with the conductor Pierre Boulez.
Going further, it is useful to have the musical passages illustrated at times with images of the notation, so that students who view the documentary can have some reinforcement of the connections between written music and audible sound it represents. This demonstrates the well considered presentation behind the series, which extends further into the well-written script, inviting narration, and fine pacing. Moreover, through its focus and concision, the documentation on Bartók’s Concerto for Orchestra serves the work well through the balance it offers on biography, analysis, and cultural elements.
Moreover, it is useful for audiences to hear the esteemed composer and conductor Pierre Boulez interviewed apart from his presence on the podium for the performance of the work. Boulez’s authoritative voice demonstrates his fluency in German, and the subtitles are a solid way for audiences unfamiliar with that language to apprehend his comments without the artifice of dubbing or other such means. As such, the interspersing of the female narrative speaking idiomatic British English with the continental Boulez commenting in German also contributes a nice variety to the spoken work in that part of the DVD.
As to the performance itself, the concert of the Berlin Philharmonic was given at the Mosteiro des Jerónimos, Lisbon on 1 May 2003. This monastery provides a picturesque background for the performance with its soaring, Gothic arches giving a sense of spaciousness to the concert. The acoustics in this performance space serve the work well, with its clean resonance for the burnished sound of the Berlin Philharmonic. In fact, the performance itself is one which deserves attention its own merits, as a relatively rare presentation of this work on DVD. The apse of the monastery allows for some excellent sightlines for capturing Boulez’s conducting well, and the lighting allows for some fine shots of the orchestra which avoid the glare which sometimes occurs in films of concerts on stage. At the same time, the position of the orchestra and conductor on almost the same visual plane as the audience adds a further level of accessibility to audiences who may be less familiar with this work or other examples of concert music.
The visual images are clear and immediate, the sound rich and full. With subtitles available in French, German, English, and Spanish, it should be possible for people in various Western countries to enjoy this DVD. In addition, the booklet accompanying the DVD contains a brief essay by Wolfgang Stähr, along with a pithy timeline of Bartók’s career, and a glossary of musical terms in German, French and English. (For the latter, a three-volume alignment would have been useful for teaching purposes.) All in all, it is a welcome addition to the series and a fine tribute to one of the masterworks of Bartók. Such an introduction would allow new audiences to delve more deeply into the Concerto for Orchestra. From here it would not be difficult for those interested to move to other music by Bartók, including such fine works for the stage as the ballet The Miraculous Mandarin or the opera Bluebeard’s Castle.
James L. Zychowicz