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This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
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.