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A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
08 Mar 2010
Love Triumphs in L’Elisir d’amore at Lyric Opera of Chicago
In its current revival of Donizetti’s L’Elisir d’amore Lyric Opera of Chicago’s production showcases the strengths and foibles of humanity, while assuring the ultimate triumph of love.
The bright and festive staging featured, in its opening cast, Nicole Cabell and
Giuseppe Filianoti as the pair Adina and Nemorino, whom love finally unites.
The rival to Nemorino in his courtship of Adina, Sergeant Belcore, was sung by
baritone Gabriele Viviani. Whereas both suitors of Adina are making their debut
this season at Lyric Opera, the pivotal role of Doctor Dulcamara, who produces
the elixir allegedly causing love, was portrayed by familiar baritone
Alessandro Corbelli. The orchestra was conducted by Bruno Campanella.
In it performance of the overture the Lyric Opera Orchestra yielded a firm
balance of strings and woodwinds, with the oboe and flutes especially standing
out. Campanella led with tempos that allowed for motivic expression of
individual segments while maintaining an overall conception of the orchestral
flow. The first scene of the opera in this production is bathed in sunlight;
the Lyric Opera chorus in its opening number gives the impression of a
nineteenth-century village gathering. Nemorino threads his way through the
crowd of peasants and townspeople in order to snag a glimpse of his beloved
Adnia. She seems to be lost in her reading and, with book in hand, she ascends
to an elevated balcony and seeks out space for concentration. In his first solo
number, “Quanto è bella,” [“How beautiful!”] Nemorino
details his infatuation with ardent lyricism. Mr Filianoti truly gave such an
impression while lacing his verses with an admirable sense for legato.
In his appeals to gain access to Adina’s attentions Filianoti relied,
perhaps more than needed, on forte expression, a more even balance
showing itself once interaction with the other performers began. During the
following, parallel aria Adina reveals that the subject of her reading is the
story of “Tristan and Isolde” whose boundless love was engendered
by a potion. Here Ms. Cabell indicated Adina’s absorption in the tale of
the magical love by, at first, an understated approach with spare use of vocal
decoration. As Adina continues to muse and wishes that she knew more about the
potion, a troop of soldiers enters under the direction of Sergeant Belcore. In
his introductory aria he offers a token of admiration to Adina and sings of his
own love being tantamount to that of a Classical or mythological model of
amor. Mr. Viviani worked his way into this entrance so that his
elaborate decoration was securely applied to suggest an image of
self-importance by the close of his declaration. Adina does not commit herself
as a result of this paean, yet Nemorino feels that he could lose any chance to
win her love. By the point of the trio ending this scene all three principals
had achieved a vocal and dramatic characterization of their roles and
interacted well to express the hauteur of the Sergeant, the desperation of
Nemorino, and the coyness of Adina. The duet which follows this exchange
features the latter two characters in their first scene alone together. As
Adina attempts to dissuade Nemorino from further displays of devotion, he seems
willing to neglect even the fortunes of an ailing uncle. Filianoti sang
graceful arching lines in his description of the unstoppable flow of the river,
in order to describe the futility of trying to stay his emotions [“Chiedi
al rio perchè gemente dalla balza” (“Ask of the river why it parts
from its source and fountain”)]. Ms. Cabell’s voice seemed to bloom
here as she matched the touching bel canto decoration of her suitor,
even though her response to Nemorino essentially denied his entreaties.
In a shift suggesting the scene at the start of the opera numerous villagers
collect around the cart of Dr. Dulcamara, who enters from his travels with
great spectacle. Mr. Corbelli inhabits the role in all its facets convincingly.
From this point until the close of the act Dulcamara’s personality and
his influence have an effect on Nemorino’s hopes and behavior. At first
Dulcamara brags to the villagers of selling a panacea for any possible ill. Mr.
Corbelli handles the doctor’s rapid monologue with idiomatic ease, and he
infuses the words with believable posture. Once the townspeople leave, Nemorino
asks if a potion to induce love is also sold by the doctor. True to
expectations of Dulcmara, a potion akin to Isolde’s is produced: the
doctor sells Nemorino a bottle of wine and suggests that he allow a days’
time for the elixir to take effect. In the well-known duet including
“Obbligato!” [“Much obliged!”] both Filianoti and
Corbelli maintain and enhance their characterizations of a lovelorn youth and a
self-serving charlatan. Their challenging vocal lines were delivered crisply
and with sufficient independence so that each made a distinct impression while,
at the same time, being caught up audibly in the sense of a progressive duet.
Nemorino imbibes from the elixir as instructed and he becomes, of course,
emboldened in his sense of confidence. When he next sees Adina, Nemorino seems
disinterested and he declares that her emotional response will surely be
kindled before long. Ironically Belcore enters and presses his suit again. In
the trio which concludes Act I Adina agrees, at first, to give her consent to
Belcore by the following day. When reminded of the sergeant’s imminent
departure, she agrees to a marriage on this very day. Mindful of the
doctor’s prediction, Nemorino is now aghast that sufficient time will not
have elapsed for Adina’s love to be awakened by the potion. Accompanied
by increasingly rapid tempos, all three principals in this production sailed
toward the finale while communicating individual emotions as part of a larger
canvas in the ensemble. The well-rehearsed chorus contributed to the picture of
unexpected dilemmas at the close of the act.
At the start of Act II festivities for the wedding between Adina and Belcore
have been set up. While Belcore waits for the marriage document to be signed,
Adina regrets the absence of Nemorino. The crowd is entertained by a song
performed in duet by Dulcamara and Adina. At this pont Ms. Cabell and Mr.
Corbelli engaged in play-acting to suggest the amorous tone of the song, a
skillful maneuver which enhanced the tension of love as gradually depicted here
in its development. Once the notary arrives to seal the marriage, Adina finds
further reason to delay her agreement. She leaves Dulcamara alone at the
banquet until Nemorino appears to beg more of the elixir. Since he has no cash
to buy the potion, Nemorino sells his time to the army: Belcore gives him
twenty crowns in exchange for military service. In these two scenes Filianoti
showed a skillful application of vocal colors, first in his exchange with
Dulcamara followed by the pointed duet with the sergeant. Once the news that
Nemorino’s wealthy relative has passed away is communicated by the
village girl Giannetta, the youth returns under the influence of the elixir. In
the role of Giannetta, Angela Mannino gave full-voiced lyrical expression to a
memorable characterization. Now many of the women in the village vie for
Nemorino’s attentions, as Adina must rely on her own charms to settle the
emotional quandary. In their final solo numbers of the act both Filianoti and
Cabell demonstrated their skills at this repertoire. “Una furtiva
lagrima” [“A furtive tear”] was performed with great pathos,
a superior command of legato, and an effective use of
diminuendo toward the close. Ms. Cabell’s ultimate declaration
of her love was sung with appropriate and well-executed decoration as well as
carefully observed shifts in tempo during the course of the aria. The assembly
of well-wishers provided a happy ending as Dulcamara, initiator of the elixir,
departs upon having completed his task.
Click here for a photo gallery and other information regarding this production.