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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.
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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.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
02 Aug 2009
Donizetti: Lucrezia Borgia
Of Donizetti's 55 operas, four to five hold on to secure places in the repertory, a much greater number are all but unknown, and in the middle come the titles that see occasional revivals, as flawed but fascinating rarities.
Lucrezia Borgia belongs to that latter group, and it might well have earned a place alongside Lucia and L’Elisir if Donizetti had been able to take more time in its composition (the booklet essay relates how the first rehearsals came only a week after Felice Romani had delivered the libretto to the composer!). Some of the music is uninspired, if professional, and the score’s most memorable numbers go to a relatively minor character (Orsini, a pants role for mezzo). The story itself may be fraudulent history, but it puts on stage an intriguing group of characters quite different from the formulaic romantic contraptions of many other mid-19th century operas.
Donizetti and Romani’s Lucrezia follows the historic portrait of a power-hungry woman who finds poison a useful way to protect and further her position. But she is also a loving mother, although she had to give the son she loves, Gennaro, over to an orphanage at an early age. Gennaro hates the Borgias, and his activities eventually draw a death sentence from Lucrezia’s husband, the Duke. She manages to save her son’s life once, but at the end of the opera she unwittingly poisons him (along with several others she quite wittingly intended to kill), and he refuses her antidote, dying in her arms after they have both sung at some length over the tragic turn of events.
The production Naxos presents originated at the Bergamo Musica Festival, in a recording compiled from November 30th and December 2nd 2007 performances. Angelo Sala’s set design employs stone columns and stairs, leaving most of the stage bare for appropriate props. More budget seems to have gone to Cristina Aceti’s costumes, of a traditional opulence. Lighting designer Valerio Alfieri casts much of the action in shadow and sickly blue light. It all adds up to a fairly conventional staging, but director Francesco Belloto has a good way with the singers, eliciting detailed reactions from not only the leads but from the entire cast, including chorus.
Dimitra Theodossiou, the Lucrezia, either hasn’t sought or hasn’t received many offers to perform in the U.S., but many a stateside opera fan would find her impressive. Not a conventionally beautiful woman, she has an old-time presence, self-contained , even regal. Without trying to judge the size of her voice from a recording, her soprano has that penetrating edge to it that usually carries well. The top can get steely, but she definitely has the notes. And when Donizetti wants the voice to move as nimbly as Lucrezia’s calculating mind does, Theodossiou doesn’t struggle a bit.
While acceptable, Roberto De Biasio’s Gennaro is not on her level. Before he warms up the intonation is not secure, and even once he is in control, the voice itself has little that is attractive about it. Enrico Giuseppe Iori makes for an impressively threatening Duke, and Nidia Palacios does well by the enjoyable music for Orsini. Efficient support comes from conductor Tiziano Severini and the Bergamo forces.
There are no extras on the Naxos disc. Paul Campion’s booklet essay is concise and informative, and there’s a helpful synopsis tied to the track listings, as well as the artist’s biographies. Anyone curious about this Donizetti opera should give this a look and listen.