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Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.
An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera
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