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Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
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