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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.
25 Oct 2009
Baldassare Galuppi: Jahel
Dr. Charles Burney, who in August 1770 heard Galuppi’s singing girls
at the Incurabili, one of Venice’s four competing Ospedali or
musical orphanages, admired both their excellent performing standard
(“indeed all were such as would have merited and received great applause
in the first operas of Europe”), and the quality of the music that the
aging maestro was still able to write for them: “ it is generally allowed
here that his last operas, and his last compositions for the church, abound
with more spirit, taste, and fancy, than those of any other period of his
Had Burney visited Venice and the Incurabili short earlier, on May 24, he
might have attended the premiere of Jahel, a Galuppi oratorio recently
unearthed at the Zurich Central Library in Switzerland — probably a
remake of the score already performed at the Ospedale dei Mendicanti in 1747
and 1748. By 18th-century standards, 23 years was quite a long time-span in the
change of musical taste. Perhaps that’s why in 1772 Galuppi reverted to
the same subject on a different libretto and with a larger cast of characters
under the title Debbora prophetissa, but the core story remained the
same, based on chapters 4-5 of Judges in the version provided by the
Latin Vulgate Bible.
Actually, despite the triumphs gathered by his operas in London, Saint
Petersburg and Vienna, nowhere did Galuppi enjoy more popular acclaim than as a
composer of Latin oratorios on Bible subjects for the Ospedali of his
native Venice. It is reported that his Tres pueri hebraei in captivitate
Babylonis — premiered in 1744 at the Mendicanti — scored some
hundred (paying) performances, a feat comparable to those of modern musical
theater. Unfortunately, the 1770 version of Jahel is all we are left
with in this genre, since two more oratorios surviving in musical sources
(Adamo caduto of 1747) and Il sacrificio di Jephtha of 1749)
are in Italian.
At the outset of the eighteenth century, the language of oratorios at the
Incurabili became exclusively Latin, to remain so under the musical
directorship of Porpora, Jommelli, Cocchi, Ciampi, and Baldassare Galuppi. A
similar trend affected more or less the remaining three Ospedali.
Although the librettists’ choice was for a simplified variety of Latin,
aping at the stock imagery from contemporary cantata and opera seria
texts, one wonders whether the traditional status of Venice as a target for
multinational operagoers could account for such an unexpected association
between Latin and bel canto on a scale even larger than in Catholic
Hearing those notes again within the Scuola Grande di San Rocco — the
‘Sistine Chapel of Venice’ studded with masterpieces by Tintoretto,
Titian and Tiepolo — was well worth a trip. As to the actual merit of the
performance, one might regret that a few arias were pruned of their da capo, or
that a harpsichord was substituted to the organ stipulated in the continuo
section. Nevertheless, the sparse period band Orchestra Barocca di Bologna,
some ten instrumentalists led by Paolo Faldi, sounded well attuned to style
requirements, with rhythmic stamina and accurate tuning generally deserving
Title page of Jahel [Zentralbibliothek Zürich]
Not all the six singing ladies would have deserved the same applause as
their early counterparts, either out of lacking experience or worn-out voices
(the latter was probably the case for Candace Smith in the role of Sisara). Yet
both sopranos Pamela Lucciarini in the title role and Silvia Vajente (Debbora)
delivered terrific amounts of passagework, competing on a tight edge as to
projection and clarion notes. In the end, Vajente apparently won by a neck
thanks to a clearer diction and to the sensuous rendering of her aria
“Rosa et lilio”, accompanied by a pair of obbligato mandolins. As
Barac, mezzo Elena Biscuola unsheathed lovely dark color, accomplished
technique and dramatic panache. Her climactic duet with Vajente (“Fugato
jam maerore”, just before the final ensemble) was also praiseworthy.
Patrizia Vaccari, a coloratura soprano of considerable experience, delivered
a defiant rendering of “Non horret cor forte”, much in the vein of
Constanze’s “Martern aller Arten”. The taxing
‘storm’ aria for Haber, “Pugnent nubes fulminando”,
emphasized the good natural qualities of young soprano Laura Antonaz, such as
sterling color and easiness in ascending to the highest pitches. Her coloratura
technique needs further refinement, though.