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What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
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).
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.