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One of the initiatives for the community at the Lucerne Festival is the
‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber
music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
10 Oct 2010
Rossini’s Otello at Rossini in Wildbad Festival, 2008
As good a performance of Rossini’s opera as this disc provides, for some equal entertainment value may potentially arise from the booklet essay by one Bernd-Rüdiger Kern (as translated into English by David Stevens).
In explaining the relative obscurity of Rossini’s version of Shakespeare Moorish tragedy, Kern contradicts himself more than once, often within a couple lines: “It is still performed widely in the opera-houses of today” is soon followed by “Revivals of Otello in the modern era, the first of which took place as late as 1954, have not been so numerous as might have been expected.”
Exactly whose expectations that may be, other than the writer’s, remains unclear. Even if one proposed the tragic loss of Verdi and Boito’s masterpiece from the canon, Rossini and librettist Francesco Maria Berio di Salsa’s version would probably be no more frequently staged today than, say, Zelmira or Semiramide (even Kern admits that in the years just before Verdi's Otello, Rossini’s version had already become a rarity). The style and tropes of Rossini’s “serious” operas simply haven’t aged well, and whereas patches of indifferent music don’t really hurt the comedies much, the lack of dramatic tension in the serious operas can make for some sad musical longueurs.
The problem in the first two acts in particular is that the rigorous demands of opera construction at the time mean that the story advances oh so slowly, as each character is introduced and has his or her own number. By act three, however, Rossini is at his best, and the loveliness of Desdemona’s final scene really does rival that of Verdi’s. Jessica Pratt takes this role and exhibits a warm, sweet voice of real quality. Among a large group of high-lying tenors, Michael Spyres in the title role stands out with a richer, more baritonal quality. His scenes with Jago, another tenor, don’t have the fierceness of those between Verdi's Otello and Iago, however. There is no Cassio in this fairly different telling of the story; Rodrigo has a significant part, and Filippo Adami — yes, another tenor — has a pointed, tart voice perfect for the role.
This is a live recording, from the 2008 Rossini in Wildbad Festival. Don’t worry about the defects of many live recordings — stage noise is minimal, and voices are well-captured in a natural mix with the orchestra. Antonino Fogliani leads the Virtuosi Brunensis forces, and they produce a warm, propulsive account, although not always with perfect intonation.
Intrepid shoppers may be able to find the studio version of this opera from a couple decades back, with Jose Carreras. For anyone else interested in this rarity, this version should suffice. The cast may not be familiar, but they are fresh and dedicated to their roles. And then there’s the Naxos price. No libretto is included; the essay joins a detailed synopsis and artist biographies, in English and German.