Recently in Reviews
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
25 Oct 2009
Ruxandra Donose stars in L'heure Espagnole at the Royal Opera House
Ruxandra Donose sings Concepción in Ravel's L'heure Espagnoie in a double bill with Gianni Schicchi at the Royal Opera House. Concepción is an unusual personality, so Miss Donose's characterization is interesting.
L’heure espagnole is a rapid-moving farce, and Concepción is the pivot around whom all the action revolves. It’s a demanding role for she’s on stage all the time, carrying the action. “It takes a high level of energy to keep going like this for nearly one hour”, says Miss Donose. “I think it’s wonderful how Ravel gets the orchestration to create vivid details like the cuckoos in the cuckoo clocks,it’s so funny. That’s why this opera is done so often in concert, it lives through the music”. She has sung the role in two separate concert performances, but this Royal Opera House production is fully staged, which emphasizes the movement and drama in the plot.
“Concepción has only one hour in the week when her husband is away, so she has to squeeze all her frustrations into that time”, says Miss Donose, “She’s doesn’t get any attention from her husband, but when she tries to relieve her frustrations, she gets all this unplanned attention from other men so she’s frustrated again”.
Everything spins around Concepción, rather like the clockwork mechanisms all round her. “Timing and blocking mean a lot in this production. On the very first day, I was told that this production, by Richard Jones, is very difficult, because there are lots of very precise details and they might take a lot of time to get right. Actually, that went smoothly, but it was interesting coming to the character from outside to inside. There are gestures that don’t come naturally to me, but are part of this Concepción, so I have to make them my own. It’s a process like putting on a costume, you put on those hundreds of small details so they come naturally to you.so you slip into the role.and become the character”.
Because Ravel’s music is so precise, “The ensemble is very important”, adds Miss Donose, “the other characters are much more than caricatures. The poet Gonzalve (Yann Beuron) can’t stop making poetry, and the banker Don Inigo Gomez (Andrew Shore) is solid, like he’s stuffed with money. And the muleteer Ramiro, played by Christopher Maltman, is a strong fellow, who doesn’t do small talk. The clocks aren’t as heavy as they look but they’re bulky and Maltmann has to carry them up and down when he’s singing! ”
“Torquemada (Bonaventura Bottone) lives only for his clocks, they are his only passion, but Concepción is passion, and so direct” ! Just as Torquemada prefers objects to people, Concepción uses people as objects to get what she needs. “Husband and wife are on completely different planets. Concepción is very terre à terre, as the French say, she’s very down to earth so she’s extremely direct. She’s unhappy but determined to get what she needs. In this production, she’s like child who wants a toy and stamps her feet if she can’t get it”. Concepción’s obsessiveness is not so different from Torquemada’s after all. “I’m not like that”, says Miss Donose, “so all the detailed gestures helped me understand what to do with this character.who is much more single-mined and direct than most women”.
Christopher Maltman as Ramiro and Ruxandra Donose as Concepcion
Ruxandra Donose’s starring role in L’heure Espagnole reflects her status as one of the more expressive personalities among the rising generation of mezzo-sopranos. She’s reached the stage where she’s so technically assured that she can focus on developing the characters she portrays. She’s sung Marguerite many times, including with Nagano and Dutoit, and has done many Carmens, Charlottes and even a few trouser roles. Among her favorites though are the Composer in Aridane auf Naxos and Cenerentola. In the near future, she’ll be singing a lot of Mozart, Singing these roles is enriching. “It’s a great experience to embody someone you are not yourself, but can create. For a few hours you have a chance to live another life”.