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The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
02 Aug 2009
Verdi: La Forza del Destino
This looks like a winner, with an esteemed conductor (Zubin Mehta), top-rank cast (Violeta Urmana, Marcello Giordani, Carlo Guelfi), and a production directed by Nicholas Joël that originated at the Opernhaus Zürich, a house that takes some chances and scores some successes.
But the beauty expected doesn’t even go skin deep. While Verdi’s great score keeps La Forza del Destino in the standard repertory, the problematic libretto requires both sharp intelligence and inspired imagination. Sure, one can go back to the classic video with Tebaldi and Corelli, where the fabric of the cheap sets ripples every time a character brushes past. At least their singing mesmerizes, distracting the 21st century viewer from the 19th century production values. Despite the quality of the performers here, that magic act does not repeat itself.
To be fair to Nicholas Joël, the booklet credits state that the production was “restaged by Timo Schlüssel.” All that matters is that the result of the men’s work feels like an elaborately costumed concert performance. The chorus stand in blocks or move in unison. The actors usually occupy a small space near the front of the stage and seldom interact convincingly. The costumes of Franca Squarciapino, while well-made, all seem to have come straight from the cleaner’s. Even after a battle-scene the two Dons look immaculate. Ezio Frigerio’s sets barely distinguish between the opera’s varied settings, with the final scene being the lamest. Leonora’s mountain hideaway is simply a barred cage, like one would see at some dreadful old-time zoo. Working in such forlorn circumstances, even the most vibrant of performers would struggle. As commendable as their vocal efforts may be, these singers need more direction to be effective. Violeta Urmana is a very healthy Leonora, with that pitiful loaf of bread for her meal apparently having a substantial carbo load. Perhaps needless to say, the effort to make her convincing as a male produces laughable results. But close the eyes and the ears will hear a substantial voice that can meet all of the challenging role’s demands, often with attractive power. Carlo Guelfi delivers a “shades of black” interpretation of Don Carlo, Leonora’s vengeful brother, but again, he delivers the goods vocally.
Marcello Giordani comes across as more committed to portraying a character, and his Don Alvaro does have both nobility, pride, and the requisite fatalism. As is typical with this busy singer, the middle voice sounds as good as any tenor today, but the top range is variable - sometimes ringing out as tenor fans love, and other times turning hoarse, constricted. Julia Gertseva’s Preziosilla can be counted a success in so far as the character is not nearly as annoying as she can be. Roberto Scandiuzzi’s Padre Guardino and Bruno De Simone’s Fra Melitone fade into the grayness of the production’s dim inspiration.
Zubin Mehta doesn’t try to prettify the score, letting its occasionally crass martial music roar away. The singers are always well-supported, and the forces of the Maggio Musicale Fiorentino, where this performance took place in 2007 (TDK doesn’t give any more time information), play idiomatically.
And to get really picky, TDK could do a better job of graphically identifying which of the two discs is which, as they have identical faces except for very tiny lettering with the disc number tucked away under the copyright. Go for the Tebaldi/Corelli, if it can be found.