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Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
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.