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Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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