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Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
21 Jul 2010
Cosima Wagner — The Lady of Bayreuth
Originally published in German as Herrin des Hügels, das Leben der Cosima Wagner (Siedler, 2007), this new book by Oliver Hilmes is an engaging portrait of one of the most important women in music during the late nineteenth and early twentieth centuries.
Famous as the wife of the pianist-conductor Hans von Bülow, who ran off to marry the composer Richard Wagner, Cosima was the daughter of Franz Liszt and eventually the matriarch who forged her last husband’s legacy at Bayreuth. Hilmes begins his study of Cosima in the present at the annual Bayreuth Festival, which continues to attract audiences. In explaining his interest in Cosima, Hilmes identifies his sources (pp. 349-50), which are in this case voluminous and extend beyond the woman’s diaries, which have already been published in German and English translation. This is an account of an exceptional woman, who transformed conventional widowhood into a living monument to her husband’s memory and also shaped music performance internationally through her development of the Festival at Bayreuth.
Hilmes divides his work into chapters that cover Cosima’s life logically, started with her early life as the illegitimate daughter of Liszt and the French author Marie d’Agoult. He follows with an account of Cosima’s relationship with Liszt’s one-time student Hans von Bülow, which ultimately resulted in what Hilmes calls a marriage of convenience. Here Hilmes is good to show the misunderstandings that have emerged over the years, and to allow some of the documents to speak for themselves, which emerges neatly in his coverage of an episode in which Bülow encountered Cosima with Wagner on the street (pp. 58-59), a scene which has a different character depending on whom one reads. Hilmes’ approach opens the door to a fresh account of Cosima’s affair with Wagner, her divorce from Bülow, and her eventual marriage with Wagner. This portion of the book is of interest for the subtext that emerges in the section headings. Since Bülow conducted the premiere of Wagner’s opera Tristan und Isolde, the presence of that title as a subhead (p. 77) offers a useful point of reference. Likewise, other references to literature and other topics emerges as with “Human, All Too Human” (p. 112) and others. Despite the subtle references, Hilmes is nowhere arch or judgmental. He discusses the sense of guilt Cosmia felt in the way she treated Bülow sensitively. Elsewhere Hilmes shows how active a role Cosima played in Wagner’s life, and this anticipates the role she would take in shaping Bayreuth as an institution later in her own life.
The account of Cosima’s life with Wagner is lively and engaging. The freshness with which Hilmes approaches the episode invites an investigation of the sources and also a rereading of those famous diaries of Cosima in light of the perspectives that are found here. Wagner’s death is depicted with proper reverence, yet shown to be the turning point in what emerges as a kind of musical cult (p. 158), as Cosima identifies herself almost entirely with Wagner and also their home — she even uses Wahnfried as an eponym in correspondence with her daughter Daniela. This is a fascinating aspect of Cosima’s life, and it merits attention in Hilmes treatment of it. In turn, it sets the stage for the international attention that reaches Bayreuth and the role that the Festival takes in shaping German culture. The question of antisemitism emerges in this book, and its treatment is appropriately open; elsewhere Hitler’s relationship with Wagner’s music comes into play, as does the ways in which Cosima shaped the future of Bayreuth as she approached her later years. Hilmes discusses Siegfried Wagner sufficiently and also treats some of the family relationships with a deft hand. As found in other books, the Wagners are a subject that merit separate treatment, and Hilmes offers a nice balance in discussing the family matters, while always retaining the focus on Cosima as his subject.
Part of the attraction of this biography is the lively style the Stewart Spencer brings to the translation. It reads well, and flows with a natural, authorial sense of the language. Spencer seems as engaged in the subject as the author, and that is due to his own work on Wagner and his music. For these and other reasons, this biography has much to recommend for those interested in Cosima and her hand in shaping one of the important institutions in German music in the last century.
James L. Zychowicz