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This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
24 Sep 2009
Incomparable Schubert — Goerne at the Wigmore Hall Part 2
This programme of mostly solemn, elevated music based around songs on such themes as Evening, Death and Immutability was part of Matthias Goerne’s ‘Journey with Schubert’ during which he is recording the songs on eleven CDs and presenting the series in recitals all over the world. If the singing on this occasion is anything to go by, these recordings are set to become the standard to which other singers should aspire.
Goerne’s unwavering legato, at once intimate and yet redolent of grandeur, is, frankly, matchless - no other singer, recorded or currently active, can sustain the long, flowing lines of songs such as ‘Nacht und Träume’ and ‘Im Abendrot’ with his ease, intensity and phenomenal breath control: this recital displayed that unique ability to tremendous effect. He began with the former song - daring as an introduction, but a wonderful way to establish the atmosphere of this sombre, deeply philosophical evening. Of course he respects the marking of langsam as few other singers can, yet he still sustains the inner rhythm of the lines: it was a pity that Alexander Schmalcz’ playing was a little on the heavy side.
I must have heard ‘Im Abendrot’ at least a hundred times in recital, but never like this - sehr langsam is the instruction, and Goerne intones the spacious, expansive melody with such quiet fervour that you find yourself holding your breath: the silence in the hall after ‘In mein stilles fenster sinkt’ was like the lull before a huge storm, far away yet imminently expected. Superb.
Graham Johnson wrote of ‘Die Sterne’ (Schlegel) that the singer with the breath control needed to execute its phrases ‘seems synonymous with someone who has ‘seen the light’ and this most unusual of Schubert’s ‘star’ songs indeed presents lofty challenges, to each of which Goerne rises with great skill, his shimmering high notes displayed to as much advantage as his warm, bass-baritone depths.
‘Der liebliche Stern’ has been described as a ‘humdrum’ song, but not here - Goerne’s tender, earnest phrasing and Schmalcz’ wistful playing of the ostinato accompaniment made for an intense experience, ‘Es zittert von Frühlingswinden’ living up to Gerald Moore’s requirement for the singer to ‘love each phrase’ and to sing with ‘the smoothest calmest line.’
‘Totengräbers Heimweh’ is the song of which it was once said that Goerne’s interpretation of it was ‘incomparable - his singing comes from inside’ and this was amply illustrated by this evening’s performance of it. From the fervid questioning of the start - ‘Wohin? o wohin?’ through the anguished depths of ‘Ich stehe allein! - so ganz allein!’ to the spellbinding mezza-voce of ‘O Heimat des Friedens, Der Seligen Land!’ in which the long phrases were given in one seemingly effortless arch of sound, this truly was singing with which it is very difficult to find anything to compare. The single encore, ‘An den Mond’ (‘Fullest wieder Busch und Tal’) was a fitting conclusion to this evening of peerless singing.