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Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
18 Jun 2010
Verdi's Falstaff at The Metropolitan Opera, 1992
A Franco Zeffirelli production for The Metropolitan Opera typically prompts the use of adjectives such as “grandiose,” or “gorgeous” on the positive end or “gaudy” and “gratuitous” on the negative.
However, his Metropolitan Opera staging of Verdi’s late masterpiece Falstaff, decades old and still in use, shows the Italian director in a subtler light. Refreshed since its 1960s’ debut, the sets as seen in this DVD of a 1992 televised performance do not exactly look fresh, but a certain worn aspect fits in well with the scene locations of a seedy tavern and the middle-class home of one of the merry wives. Only the final forest tableaux, modestly attractive, may make some viewers wish Zeffirelli had given into his more ostentatious urges. Then again, the rather drab video probably mutes some of the intended effect.
When a true star singer takes the title role, that central performance can overwhelm the performances of the members of what should be an ensemble cast. That doesn’t happen here, and the show is the better for it. Paul Plishka continues to be a valuable resource as a house singer for the Met, and he makes the most of this opportunity for a rare leading role. He finds both the laughable delusions of the ostensible nobleman and Sir John’s piquant humanity. He may not make the most of the role’s musical opportunities for characterization, yet his subtler approach swerves the composer’s intent very well.
The strength of the women would justify a return to the title of Shakespeare’s source, The Merry Wives of Windsor. Mirella Freni is a magnificent Mrs. Ford, playful, yet commanding. Near the start of their careers, both Barbara Bonney and Susan Graham sing with youthful attractiveness, though with not as much character as that of the veteran cast members. The perfect example of that comes in Marilyn Horne’s Miss Quickly. A playful Ms. Horne uses her expert comic timing to great effect, and that over-developed richness of her voice that made many of her late performances heavy going for some people does not get much use in Verdi’s fleet-footed writing. A young Frank Lopardo shines in his brief act three solo. Bruno Pola as Ford makes for an almost too gruff and unpleasant comic foil, and what should be his highlight moment slows down the pace.
James Levine loves the energy and rhythmic pulse of the score; those who find his approach eventually exhausting will surely get tired. A good counterpart to this very well sung Falstaff in traditional garb is the Mehta/Raimondi update from the Maggio Musicale Florentine, also well-sung but with an edgier comic profile.