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It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.
Based on a play, Chrysomania (The Passion for Money), by
the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.
29 Oct 2010
Wagner: Wesendonck-Lieder, Preludes and Overtures
A great vintage Mercury album of Antal Dorati conducting Wagner overtures and preludes featured as a cover a close-up of a medieval chalice, undoubtedly meant to reference the Parsifal excerpt on the enclosed disc.
Cover art design in those days was an integral part of excitement and appeal of purchasing classical music recordings. No more. Orchestras make exponentially fewer recordings than they once did, and when one is produced, the cover is likely to be similar to the one Deutsche Grammophon provides for a recent CD of Franz-Welser Möst conducting the Cleveland Orchestra in Wagner preludes and overtures, with Marsha Brueggersoman as soloist in the Wesendock-Lieder. The cover photograph has the boyish conductor holding aloft the smiling singer’s hand before standing members of the orchestra. This is also Deutsche Grammophon’s only clear cover notice that the performance was recorded live. Unfortunately, the perfunctory nature of the packaging is all too indicative of the musical performance within.
Welser-Möst’s conducting tends to veer from abrupt interventionism (highlighting an odd orchestral detail or opting for an unexpected tempo adjustment) to passages of skilled but staid professionalism. The disc opens with the Rienzi overture. The clear, crisp recorded sound allows the listener to share in Welser-Möst’s sudden interest in this wind figure here, or the string accompaniment there. Ultimately, the key to a great performance of this overture should be the ability for the nobility of the main tune to sweep away the listener into vaguely tragic-heroic reveries. That quality Welser-Möst cannot produce.
The Tristan und Isolde selections lack sensuality, and though the Lohengrin preludes are immaculately performed, they are cold in effect. Even the closing Ride of the Valkyries evokes technical admiration without getting the blood racing.
Vocal enthusiasts may opt for the disc solely for the roughly 20 minutes of Marsha Brueggergosman’s elegant performance of the Wesendonck-Lieder. Her tone is rich but never hooty, and she has complete security throughout her range.
An original and imaginative cover couldn’t make the overall impact of this CD any greater. Those with deep collections might break out their Wagner overture and prelude sets conducted by Dorati, or Tennstedt, or Klemperer, or...