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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.
20 Oct 2009
Brilliantly Simple 'Tolomeo' by ETO
ETO’s production of Tolomeo for one night only at the Britten Theatre, capitalizes brilliantly on the necessary simplicity of this chamber-like opera, written at a time when Handel could no longer call upon fabulous sets and stunning effects, relying only upon great singing - and what singers he wrote it for, in fact the grand trio of Senesino, Cuzzoni and Bordoni.
James Conway’s production is beautifully sparse, using only wood and sand to create the shore upon which the characters are tested, and the cast are with him all the way, turning in performances of authentic power and directness.
The plot centres upon the perfidy of Cleopatra, who exiles her eldest son Tolomeo, condemns his wife Seleuce to slavery, and raises her younger son Alessandro to supplant him: these three are shipwrecked on an island ruled over by Araspe and his sister Elisa, who fall in love with Seleuce and Tolomeo respectively. Instead of opting for a grandiose royal sing-off, Conway goes for humanizing the characters, making the lovesick sympathetic even in their cruelty, and the shipwrecked and love-lorn intensely believable. The message seems to be that this music gives voice to the plaints of all the wretched, separated and dispossessed — and the fusion of this approach with grand Handelian arias works wonderfully well.
Clint van der Linde impressed me with his Oberon when he was a student at the RCM, so it was especially good to hear him as a fully developed artist, his singing confident and powerful once ‘Cielo ingiusto’ was out of the way. He was completely convincing as the shipwrecked king, both noble and touching in his grief for his presumed loss, and his arias were sung with the assurance and expressiveness which mark out a real Handel singer — ‘Torna sol per un momento’ was superb, every phrase finely placed and sung with sweet poignancy.
Katherine Manley bears a passing resemblance to Lorraine Hunt Lieberson, and her singing is of almost equal intensity — she was a very credible and sympathetic Seleuce, her acting as committed as her singing was pure in tone, and ‘Fonti amiche, aure leggere’ could hardly have been more eloquently sung.
Rachel Nicholls was an articulate and richly-toned Elisa, James Laing a sweet-voiced Alessandro, and Neil Baker an exceptionally strong Araspe — the last is a complex character, not the usual blustering villain, so it made sense to have a somewhat lighter voice than the usual Handelian basso in this part.
Scene from Tolomeo
The orchestra — especially the wind sections — played with delicacy and verve under the supportive direction of John Andrews, and the production as a whole left you wondering why this beautiful music is not more often heard. If you live near Malvern, Exeter or Cambridge, you will be able to catch it on October 29th, November 5th and November 19th respectively — most highly recommended.