Recently in Reviews
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.
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.