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As the editor of Opera magazine, John Allison, notes in his editorial in the June issue, Donizetti fans are currently spoilt for choice, enjoying a ‘Donizetti revival’ with productions of several of the composer’s lesser known works cropping up in houses around the world.
Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.
Dystopic vision of Carmen, brought to life by vibrantly gripping performances
Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.
Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?
The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.
New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.
I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.
Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.
There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.
On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.
Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.
Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.
R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?
A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.
It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.
San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.
In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
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