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Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.
Dystopic vision of Carmen, brought to life by vibrantly gripping performances
Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.
Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?
The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.
New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.
I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.
Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.
There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.
On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.
Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.
Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.
R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?
A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.
It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.
San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.
In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
25 Jan 2010
Dido and Aeneas by Les Arts Florissants
We all wish Henry Purcell had written a few more operas like Dido and
Aeneas — simple to cast, simple to stage, offering endless
possibilities for either reserved or outrageous treatment, attractive to every
sort of audience.
Producers of opera certainly wish it, for they turn to
Dido all the time, in every sort of production and circumstance.
Dido, brief and elementary as it is, is a complete work, even
“grand” (as William Christie suggests in this DVD’s
supplemental film), in the range of emotions it takes us through, the
completeness of the story we are asked to feel, the “Shakespearean”
variation (as director Deborah Warner suggests in the same film) between heroic
tragedy and madcap humor. Dido repays every sort of effort, from
amateur to elitist.
Les Arts Florissants are more familiar from their grandiose productions of
such works as Lully’s Atys, Charpentier’s Medée,
Rameau’s Les Boréades and Monteverdi’s Il Ritorno di
Ulisse, but Dido might have almost been composed with their
gracious style in mind. Deborah Warner’s production plunks the characters
down in a girls’ school (the site of Purcell’s original
commission), and leaves the girls such duties as mimed history, shrieking
courtiers, masked demons and so on, which they acquit with brio. An inserted
prologue presents actress Fiona Shaw reciting (and enacting) Ted Hughes’s
version of “Echo and Narcissus” and some bits of Eliot and Yeats on
love affairs gone awry, just to put us in the mood for Arcady and broken hearts
in lieu of an overture. (Purcell’s, if it ever existed, is lost.)
What follows is always delicious to watch: muscular tumblers writhing
together while suspended from the ceiling represent a visible thunderstorm, the
sorceress demonstrates her evil by puffing a cig, while her goth attendants
snort cocaine in Madonna lingerie, the “spirit” they invoke gives
Aeneas’s valet a talking seizure, and Dido takes poison and goes blind,
reaching for Belinda’s hand, and fading away in her arms. The set is
classic, court and pool and glade, against a shimmering curtain of metallic
beads, filmed in Paris’s sumptuous — but not dauntingly enormous
Delicious too the performances: Malena Erdman’s delicate Dido, each
phrase sweet with ardor or drawn out in pain, bustling Judith van
Wanroij’s Belinda the motherly confidante, Christopher Maltman’s
robust (if sometimes wobbling) Aeneas, Hilary Summers’s louche and
envious Sorceress. The English diction of this international company is
exceptional: you won’t need titles, even for the choruses. An orchestra
of twenty ranges emotionally over the cues of Purcell’s music and
The supplementary film interviews Christie (in French) on the edition of
Purcell used and where and why enhanced or revised (it is unclear whether the
score as we have it is complete, or exactly when or why it was composed),
Warner (in English) on her inspiration from the girls’ school idea and
the body of “Arcadian” myth and poetry that Purcell’s
audience would have known, but requires a refresher for most modern viewers
— so that she and Christie and Fiona Shaw came up with the classically
referenced prologue and other references within the staging, to Dido’s
earlier widowhood, to Troy’s fate, to Rome’s destiny, and to Diana