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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.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
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