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Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
18 Aug 2010
Mozart and Rossini Finales at Grant Park, Chicago
During a recent concert at the Grant Park Music Festival, held on this
occasion in the adjacent Harris Theater, members of the Ryan Opera Center of
Lyric Opera of Chicago presented ensembles from four operas, two each by Mozart
and by Rossini.
The finales from Act I of Rossini’s La
Cenerentola and Act II of Don Giovanni were featured in the fist
half of the program; after intermission, the finales from Act I of
L’Italiana in Algeri and Act II of Le Nozze di Figaro
concluded the program. Carlos Kalmar conducted the Grant Park Orchestra.
Already in the first ensemble from La Cenerentola a strong impression was
made by the individual voices and their abilities to interact in the collective
spirit of the composition. Tenor René Barbera and baritone Paul La Rosa began
the famous “Zitto, zitto: piano, piano” [“Hush, hush: softly,
softly”] as the characters Don Ramiro and Dandini evaluate
Cinderella’s step-sisters. Both men showed appropriate dramatic
sensitivity, just as the sisters Clorinda and Tisbe, sung by Jennifer Jakob and
Katherine Lerner, entered with their frenetic appeals and comments. Ms. Jakob
and Ms. Lerner acted well with their accomplished voices, with the others all
leading to an announcement by Alidoro that a “dama incognita”
[“an unknown woman”] had arrived at the festivity. In the role of
Alidoro, Evan Boyer displayed a sonorous and eloquent bass-baritone voice which
he used to good effect in this important role. Attention then centered on the
Cenerentola of Emily Fons, who entered the stage with both lyrical and physical
grace. As her presence increased, Ms. Fons enhanced the impression she gave
with an assured vocal technique and a mezzo-soprano range with an upper
extension equal to the demands of so many female Rossinian lead roles. Her
decorations on “Sprezzo” [“I scorn”] and
“rispetto” [“respect”] were impeccable and sung with a
florid and clearly traced line. Don Ramiro’s reaction to the unknown
woman led to a well-rehearsed conclusion in which all delivered their
impressions of confused gaiety.
In the finale from Don Giovanni several of the above singers were
joined by additional members of the Ryan Center. After a bright orchestral
introduction under Kalmar’s direction Mr. La Rosa gave a lyrical and
confident assumption of the role of Don Giovanni. His Leporello was sung by Sam
Handley, whose deeper and equally well-schooled bass-baritone made him a
believable foil to the Don. Ms. Fons took on the role of Donna Elvira with
superbly dramatic top notes in her fervent appeals; Amanda Majeski sang Donna
Anna with an exquisite sense of pitch and believable dramatic poise, both
qualities so vital to the wronged noblewoman. Craig Irvin gave solid and even
intonation to the role of the statue, and Ms. Jakob was a sprightly, memorable
In the second half of the program several singers shifted to leading roles
in the excerpt from L’Italiana in Algeri. Ms. Lerner delighted
as Isabella with her combination of acting and descent to a lower register,
while Ms. Fons and Ms. Jakob sang smaller yet important roles contributing to
the atmosphere of the Eastern court where Isabella, the Italiana, is captive.
Perhaps most impressive in this scene was Mr. Handley’s fluid, seamless
approach to the bass role of the Mustafá. So often taken simply as a comic
part, it is refreshing to hear a truly fine, young basso cantante give
lyrical expression to the ruler’s yearnings. The onomatopoetic conclusion
received a dramatically disciplined and comic touch.
The final selection from Act II of Le Nozze di Figaro featured Mr.
La Rosa as the Count and Ms. Majeski as the Countess. Both sang committed,
believable performances as the noble couple caught in their own
misunderstandings and comic, marital deceptions. The supporting characters,
especially the Susanna of Ms. Jakob, lent a sense of collective confusion in
the spirit of Mozart’s delightful ensemble writing. The Grant Park Music
Festival is to be commended for showcasing the talents of these performers who
have distinguished themselves in such a variety of operatic roles.