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All told, this was probably the best Don Giovanni I have seen and heard. Judging opera performances - perhaps we should not be ‘judging’ at all, but let us leave that on one side - is a difficult task: there are so many variables, at least as many as in a play and a concert combined, but then there is the issue of that ‘combination’ too.
Can one justly “review” a streamed performance? Probably not.
But however different or diminished such a performance, one can—and
must—bear witness to such an event when it represents a landmark in the
evolution of an art form.
For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
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.
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.