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Vividly gripping drama is perhaps not phrase which you might expect to be used to refer to Bellini's I Puritani, but that was the phrase which came into my mind after seen Annilese
As part of their Madness season, presenting three very contrasting music theatre treatments of madness (Handel's Orlando, Bellini's I Puritani and Sondheim's Sweeney Todd) Welsh National Opera (WNO) presented Handel's Orlando at the Wales Millennium Centre on Saturday 3 October 2015.
Benjamin Britten met Mstislav Rostropovich in 1960, in London, where the cellist was performing Shostakovich’s First Cello Concerto. They were introduced by Shostakovich who had invited Britten to share his box at the Royal Festival Hall, for this concert given by the Leningrad Symphony Orchestra. Britten’s biographer, Humphrey Carpenter reports that a few days before Britten had listened to Rostropovich on the radio and remarked that he ‘“thought this the most extraordinary ‘cello playing I’d ever heard”’.
Sir John Falstaff appears in three plays by William Shakespeare: the two Henry IV plays and The Merry Wives of Windsor.
The opening performance of the 2015-2016 season at Lyric Opera of Chicago was the premiere of a new production of Mozart’s Le nozze di Figaro under the direction of Barbara Gaines and featuring the American debut of conductor Henrik Nánási.
Opera Philadelphia mixes boutique performances of avant-garde opera in a small house with more traditional productions of warhorse operas performed in the Academy of Music, America’s oldest working opera house.
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.
09 Sep 2009
Fidelio from Glyndebourne and Medici Arts
Beethoven’s Fidelio is actually several works combined — a rescue opera in the grand style of the French revolution, a sentimental comedy focusing on mistaken identity, and a tragédie bourgeoise involving a husband, a wife, and their efforts to re-unite despite the actions of a relentless and implacable foe.
As if this were not enough, the opera is
also Beethoven’s political testament, an attack on tyranny and injustice
initiated (quite literally) with a trumpeted call to arms for the forces of
truth and fraternity. Fortunately, this confused (and some might argue,
irreconcilable) juxtaposition of genres contains some of the composer’s
most beautiful music, and lovers of the work will undoubtedly welcome these two
recently released recordings of Beethoven’s only completed opera. Both
performances date from 2006: an audio recording of a Glyndebourne production
featuring Anja Kampe, Torsten Kerl, and the London Philharmonic conducted by
Mark Elder, and a filmed performance (celebrating the opening of the new Palau
de les Arts of Valencia) with Waltraud Meier and Peter Seiffert accompanied by
the Community Orchestra of Valencia under Zubin Metha.
A comparison of these two productions — one a two CD set, and the
other a DVD — while inherently unfair, is revealing. From the first notes
of the overture it is obvious that the Gyndebourne production features the
better orchestra and more inspired conductor: throughout the performance
Elder’s direction of the LPO is a heavenly delight. This is not meant as
a criticism of Maestro Mehta, however, who still manages to create some
powerful moments while working with a much younger and less accomplished
orchestral ensemble. It is particularly regrettable that, unlike the Valencia
version, the Glyndebourne production does not include a performance of the
third Leonore overture before the second act finale (a tradition,
begun by Mahler in Vienna, which Metha wisely follows). The Gyndebourne
recording also features the better chorus (prepared by Thomas Blunt) —
“O welche Lust” is sung with excellent diction, wonderful dynamic
contrast, and superior balance by the British troupe. Elder’s direction
of the LPO in the performance of the Haydenesque introduction to the chorus is
Waltraud Meier is a dynamic and powerful presence as Leonore, and her
considerable talents are fully utilized in the Valencia production. The
contrast between the vocal styles of Meier and Kampe is nowhere more evident
than in “Mir ist so wunderbar” — Meier’s tone is
commanding and mature, whereas Kampe’s seems less so. This comparison
holds throughout the performances: Meier is simply more convincing and at ease
in the showcase arias and duets. Her performance of “O namenlose
Freude!” with Seiffert is remarkable, and is undoubtedly the happy result
of their frequent collaboration together in other roles (most recently in the
Met production of Tristan). Seiffert is less compelling when Meier is
not on stage, however. Torsten Kerl’s Florestan is more endearing: the
youthful tenor’s rendition of “Gott, Welch Dunkel hier” is
athletic and impassioned, and made all the more enjoyable by the special
touches added by the London Philharmonic’s wonderful accompaniment.
In the secondary roles each performance offers some special moments. Matti
Salminen is surpisingly comfortable in his role as Rocco, and even pulls off
the notoriously awkward “Hat man nicht auch Gold beineben” aria
beautifully. While the voice is at times strained and raspy, his expressive
presence, particularly in ensemble numbers, elevates the performances of his
fellow cast members. Brindley Sherratt’s Rocco is adequate in the
Glydnebourne version, but little more. Lisa Milne is impressive as Marzelline,
and displays an enthusiasm for her role which Ildikó Raimondi seems not to. The
rising Finnish star, Juha Uusitalo is an impressive and menacing Don Pizarro
(seeing him interact on stage with fellow-Finn Salminen in the “Es
schlägt der Rache Stunde” is a real treat), and Rainer Trost is a far
more convincing and lyric Jaquino than Andrew Kennedy, whose voice seems forced
and pinched throughout much of the performance.
Pierluigi Pier’Alli’s direction of the Valencia version features
some fascinating video effects. His creative use of the motif of chains and
prison bars (projected onto the screen on stage) which leads to
Florestan’s aria to open Act II is highly effective. Despite this, some
may find his otherwise rather conservative approach to much of the rest of the
work a trifle dull, and it is unfortunate that Deborah Warner’s edgy
Glyndebourne production can only be seen in a few photos in the album notes.
One welcomes Pier’Alli’s willingness to allow Meier an opportunity
to explore the full range of her dramatic abilities, particularly during the
prisoner’s chorus, where the soprano wanders the stage in a futile search
for Florestan — an unforgettable effect which she brings off
Because of the merits of each performance it is difficult to choose between
these two recordings. The Glyndebourne version is dynamic and more aurally
pleasing, but the added visual dimension of the Valencia recording is quite
powerful. Certainly, newcomers to Fidelio will appreciate the DVD
version more than a sound recording, even a relatively good one. I suspect that
those who already know the opera well will enjoy both of these new issues
— each performance brings out different facets of the work, an opera
which, despite its many flaws, remains one of the most enjoyable products of
Donald R. Boomgaarden
Dean of the College of Music and Fine Arts
Loyola University New Orleans