Mozart and Salieri, an opera in one act consisting of two scenes.
Nicolai Rimsky-Korsakov (1844-1908), composer. Libretto derived from Alexander Puskhin's play of the same name.
First performance: 7 December 1898 in Moscow.
Ariadne auf Naxos, Oper with a prologue and one act. Music composed by Richard Strauss. Libretto by Hugo von Hofmannsthal.
La Vestale, a tragédie lyrique in three acts.
Boris Godunov, an opera in four acts with prologue
Modest Mussorgsky, composer. Libretto by the composer, based on Alexander Pushkin's drama Boris Godunov and Nikolai Karamazin's History of the Russian Empire
First performance: 8 February 1874 at the Mariinsky Theatre, St. Petersburg
Il Trovatore, dramma in four parts.
Only a few months following the premiere of Der Rosenkavalier, Hugo von Hofmannsthal proposed a new opera to Richard Strauss based on Molière’s comedy-ballet, Le Bourgeois gentilhomme (in German, Der Bürger als Edelmann).
Die Entführung aus dem Serail, Singspiel in 3 Acts.
Music composed by Wolfgang Amadeus Mozart (1756–1791). Libretto by Johann Gottlieb Stephanie the Younger, based on an earlier libretto by
Christoph Friedrich Bretzner.
Die Entführung aus dem Serail, Singspiel in 3 Acts.
Music composed by Wolfgang Amadeus Mozart (1756–1791). Libretto by Johann Gottlieb Stephanie the Younger, based on an earlier libretto by
Christoph Friedrich Bretzner.
Arabella: Lyrische Komödie in three acts
Die Entführung aus dem Serail, Singspiel in 3 Acts.
Music composed by Wolfgang Amadeus Mozart (1756–1791). Libretto by Johann Gottlieb Stephanie the Younger, based on an earlier libretto by
Christoph Friedrich Bretzner.
La Gioconda, dramma lirico in four acts.
Music composed by Amilcare Ponchielli (1834–1886). Libretto by Arrigo Boito (under the pseudonym Tobia Gorrio), based upon Victor Hugo's Angelo, Tyrant of Padua (1835).
Don Carlo, an opera in four acts. Music composed by Giuseppe Verdi (1813–1901). Libretto by Joseph Méry and Camille Du Locle after Friedrich von Schiller’s dramatic poem Don Carlos, Infant von Spanien. Revised version in four acts (French text revised by Du Locle, Italian translation by Achille de Lauzières and Angelo Zanardini).
Un ballo in maschera, a melodramma in three acts.
Music composed by Giuseppe Verdi. Libretto by Antonio Somma, based upon the work of Eugène Scribe Gustave III ou Le bal masqué (1833)
Medea: Melodramma tragico in three acts.
Die Tote Stadt, an opera in three acts.
Music composed by Erich Wolfgang Korngold (1897-1957). Libretto by Paul Schott (Julius and E. W. Korngold) after the novel Bruges la morte by Georges Rodenbach.
Some Details concerning the Revolution inaugurated by Rossini
Manon Lescaut, dramma lirico in quattro atti
Elektra: Tragedy in one act.
Lyric Opera of Chicago has announced both schedules and cast-lists for is Spring 2020 performances of Richard Wagner’s Ring Cycle. Given the series of individual productions already staged by the company since Fall 2016, that pave the way for the complete cycle, Lyric Opera of Chicago’s complete production should affirm the artistic might of the great composer.
“Diacono himself does not know what musical talent he possesses” – Mascagni
In the autumn, Oxford is especially beautiful. The ancient colleges are swathed in scarlet vines, and the mellow evening light creates great atmosphere. For those who love art song, though, the best reason for visiting Oxford at this time of year is the Oxford Lieder Festival, which starts October 16th 2009.
In only eight years, the Oxford Lieder Festival has established itself as the foremost art song festival in Britain, with an international reputation for innovation. Oxford is an ideal setting because art song works best in small, intimate settings with perfect acoustic. The Holywell Music Room, where many concerts take place, seats barely a hundred people, but the atmosphere is unique. The Holywell was the first purpose built public performance space in Europe, built around 1740. As a young boy Mozart played on this very platform : Handel and Haydn visited and may have played here too. The streets nearby are still cobbled, and the pub across the way dates from 1200. The Holywell isn’t open to the public, so recitals at this Festival are always a special experience.
The Festival’s first weekend (18th and 19th October) features the complete Britten Canticles in a special series curated by Julius Drake, The Canticles on their own are too long for a single concert, so here they are spread over two days, supplemented by other works. Hearing them together is like following Britten as he develops over the course of his life. These concerts take place at the Jacqueline du Pré Music Building, in a beautiful gardens, with a view over the Oxford skyline. Refreshments will be available for a mini Glyndebourne atmosphere.
Oxford Lieder has always championed interesting repertoire. Ned Rorem’s Evidence of Things Not Seen, receives its European premiere on October 25th. Rorem is one of the greatest American art song composers, so it’s a major event. the cycle is ambitious, written for four voices and piano, in all combinations. Some songs are humorous, others sad and some plain fun !
“It’s a huge privilege for the OLF to be hosting this performance; the first time this extraordinary piece has been heard outside of America. And we couldn’t hope for a better, more dynamic group of artists to present it that the Prince Consort.” says Sholto Kynoch, the charismatic Artistic Director of Oxford Lieder. The Prince Consort are well regarded, and their recording of The Songs of Ned Rorem is about to be released by the audiophile label, Linn Records.
The Festival also showcases unpublished, unknown songs and duets by Felix Mendelssohn, including many from Eugene Asti’s new Bärenreiter Edition.. Some of the manuscripts are in the Bodleian Library in Oxford, very close to where the recital will take place, preceded by a talk by Asti and Richard Stokes. “Some of these songs are wonderful” says Stokes, well known for his translation of French and German song.
The Festival features recitals by major European singers like Wolfgang Holzmair, Andreas Haefliger, Werner Güra, James Gilchrist, Roderick Williams, Joan Rodgers and Christopher Maltman. Nonetheless, an important part of the Oxford Lieder mission has always been to encourage all aspects of song performance. Central to the Festival is a fortnight long residential masterclass. It’s a rewarding experience as participants benefit from excellent teaching and performance opportunities and take part in all the concerts and activities the Festival has to offer. There are study days and workshops and special programmes that reach out to young singers in local schools.
Membership of the Oxford Lieder Festival includes free membership to priivate dining clubs and special hotel packages. The Oxford Lieder Festival is a lot more than an excellent series of concerts, it’s a wonderful experience.
Anne Ozorio