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Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.
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
30 Aug 2009
Lehär: Die Blaue Mazur
As the detail-filled booklet essay to this CPO set reminds its readers, Franz Lehär's operettas enjoyed widespread, though rarely lasting, success, with the music theater world of the time eager for each successive work.
Of course, part of the interest lay in anticipating a work that might match the magic of The Merry Widow (1905). Premiering in 1920, Die Blaue Mazur had a nice run but has slipped into obscurity, where most of Lehär’s works keep it company. The booklet’s essay writer, Stefan Frey (as translated into English by Susan Marie Praeder), posits that the score featured a “new way of harmony and ultimate color appeal” that Lehär found in the music of Franz Schreker and Korngold. The orchestration has its moments, but as heard on this recording, Die Blaue Mazur sounds very much as one would expect any Lehär work to sound. Even by 1920, it must have felt dated.
Even Frey doesn’t attempt to describe the plot as anything but formulaic. It does begin with a marriage, where other stories might end. Undoing an inevitable misunderstanding between the newlywed Julian and Blanka, instigated partly by Julian’s former love Gretl, occupies the tired complications that ensue before the happy ending. As Julian, Johan Weigel’s pliant, lyrical tenor suits Lehär’s music well, but his character lacks one breakout number (the entire operetta does, actually). Johanna Stojkovich’s Blanka gets a wider range of emotions, and she puts them across attractively. A few unpleasant squawks do come from Jan Kobow in a minor tenor role. Otherwise, conductor Frank Beermann and the Singakademie Frankfurt musicians provide the most enjoyable work here. All three acts ends with finales where Lehär seems to be trying out any number of tunes. He never does find one great one, but a couple of them are attractive enough.
CPO provides no libretto. A comprehensive synopsis does feature tracks numbers that help the listener follow the action. Lovers of super-sweet Viennese trifles may find some pleasure in the set.