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Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
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...