Recently in Performances
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security
we are listening, watching
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.
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.
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
11 Aug 2010
Rossini’s Mosè in Egitto at Chicago Opera Theater
Although productions of Gioachino Rossini’s Mosè in Egitto
are infrequent, the lively debate on successive versions of the work has
generally led to questions of priority and to informative discussions on
For the first opera during its Spring 2010 season Chicago
Opera Theater staged a production based on the new critical edition of
Mosè by Charles S. and Patricia B. Brauner. As Philip M. Gossett
indicates in his notes accompanying the program for this production, the
Italian Mosè, originally performed in Naples, “is a work of
great value” which “contains some of Rossini’s finest
music.” The present production, with strong vocal contributions from a
convincing cast, gave ample support to these statements.
Under the direction of Leonardo Vordoni the brief orchestral prelude set a
tone both stately and somber, in which the distraught court of the Pharaoh and
the plight of Moses and his people are alternately depicted. Darkness has
fallen over the land, and Faraone determines to free the camp of Moses in order
to release Egypt from such a plague. When he sends for Moses and makes known
his intention, the captive leader calls out to God and, with the gesture of his
staff, causes light to return to the land. The two opposing leaders were sung
by bass-baritone Tom Corbell as Faraone and bass Andrea Concetti as Mosè. Mr.
Corbell showed admirable facility in his delivery of rapid notes whereas Mr.
Concetti struck an imposing figure with declamatory weight in his delivery of
Mosè’s opening lines. In the ensemble showing varied reactions to this
change, brought about by Mosè, Faraone and his consort Amaltea are joined by
the Egyptian heir and Prince Osiride along with Aronne, the compatriot of Mosè.
Faraone declares that the Hebrews will, in return for this gesture, be set free
and Amaltea supports the decision. Corbell as Faraone was joined in his florid
statement with the equally challenging line composed for Amaltea, here sung
admirably by Kathryn Leemhuis, a member of the Ryan Opera Center at Lyric Opera
of Chicago. Leemhuis gave a strong individual impression in her careful
decoration yet blended with the others to yield a memorable and dramatic
ensemble. The final lead member featured in this group was the Osiride of
Taylor Stayton. Mr. Stayton shows great promise as a tenor able to project with
dramatic lyricism the challenging dramatic line featured in this and comparable
pieces by Rossini. Here Osiride expresses his disagreement concerning the
release of the Hebrews, since his secret beloved Elcia is one of the people of
Mosè, now scheduled to depart in freedom.
After the others leave, Osiride plots with the high priest Mambre and
suggests that the latter use his powers to sow discord once again between Mosè
and Faraone. Elcia now joins her lover Osiride in order to bid farewell as she
expects to leave Egypt with Mosè. In their moving duet Siân Davies sang the
part of Elcia with great urgency and proved to be an appropriate match for Mr.
Stayton’s compelling depiction of the Egyptian prince. Upon the exciting
conclusion to their duet, Amaltea appears and chides Mambre for his attempts to
dissuade Faraone from releasing the Hebrews. Her words go unheeded, for
Osiride’s plan has succeeded, Faraone declares his decision revoked, and
the Hebrews feel themselves betrayed. At the close of the act Mosè invites
further storms to fall upon the land of Egypt.
Taylor Stayton as Osiride
After an intermission, Acts II and III were performed without pause in this
production by Chicago Opera Theater. Attempts to resolve the imprisonment of
the Hebrews are fueled by Amaltea’s independent negotiations with Mosè.
At the same time Faraone resolves to marry off Osiride to an Armenian princess
and to proclaim him co-ruler of Egypt. The dismay of Osiride was expressed in
Stayton’s fervent delivery, in which he maintained hopes still to retain
Elcia’s love. When the latter enters among the imprisoned Hebrews, she
advised Osiride to seek an equivalent love in his official betrothed. Ms.
Davies’ moving expressiveness and exquisitely secure pitch in this aria
remained one of the highlights of the performance. Osiride then threatens
violence to Mosè but he is, instead, struck dead by a lightning bolt; as the
act concludes, both Faraone and Elcia mourn his loss.
Jorge Prego as Aronne, Andrea Concetti as Moses and Siân Davies as Elcia with the Israelites
In the brief Act III on the banks of the Red Sea the famous prayer delivered
by Mosè calms his people, who fear that they will be sacrificed to the anger of
Faraone’s troops. Elcia is encouraged to continue her journey with the
other Hebrews. In this Mr. Concetti as Mosè delivered a fervent declamation in
the concluding piece of the opera. The Red Sea parts and his people cross, just
as Faraone and the high priest are swallowed up as they attempt to pursue. The
dramatic moment received an appropriately conclusive orchestral flourish.