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Heldentenor Jay Hunter Morris tells us about the lean times when the phone did not ring, as well as those thrilling moments when companies entrusted him with the most important roles in opera.
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
San Francisco Opera wraps up its fall season of five operas with what it insists is a new production of Rossini’s comic masterpiece.
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.
One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).
At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.
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.