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Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.
Dystopic vision of Carmen, brought to life by vibrantly gripping performances
Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.
Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?
The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.
New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.
I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.
Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.
There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.
On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.
Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.
Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.
R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?
A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.
It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.
San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.
In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.
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.
01 Feb 2011
Maria Stuarda, Minnesota Opera
The 2010-2011 season for Minnesota Opera is steeped in Bel Canto
opera selections, starting with Rossini’s Cenerentola this fall, currently featuring Donizetti’s Maria Stuarda, and for the spring, a production of Verdi’s La Traviata with acclaimed Violetta, Elizabeth Futral.
The current production of Maria Stuarda is
the company’s second installment of the Donizetti Tudor trilogy, with a
production of Roberto Devereax in the 2009-2010 season.
The casting of dueling sopranos, Judith Howarth (Mary Stuart) and Brenda
Harris (Elizabeth I), was spot on. Harris’ golden soprano houses a steely
core, which captured both the warmth and terror of the strong-willed queen in
perfect balance. Her opening cavatina and cabaletta,
“Ah! quando all’ara sorgemi…Ah dal ciel discenda un raggio”
boasted incredibly fierce coloratura, and ascents into the heights of her voice
that both thrilled and terrified. Harris is clearly at home in the Bel
Canto repertoire, though her performance with Minnesota Opera was her
debut of Queen Elizabeth I in Maria Stuarda.
Michael Nyby as Lord Cecil, Elizabeth's councilor and Brenda Harris as Elizabeth I, Queen of England
Judith Howarth’s silvery, spinning soprano was a wonderful
juxtaposition to Harris’ Elizabeth. Howarth gave Maria great depth of
character, vocally with amazing vocal and dramatic finesse and flexibility. In
the finale of Act I, Howarth’s biting Italian diction and metallic high
notes struck lightning during her quarrel with Elizabeth, while her sustained
B-flat sustained over the chorus in Act III seemed to emerge out of the
Both Howarth and Harris are seasoned veterans of the Bel Canto
repertory, and both approached these women with strong and meaningful dramatic
and vocal choices. Tenor Bruch Sledge (Earl of Leicester) nailed
Donizetti’s style musically, but his overall dramatic execution of the
role paled in comparison to the two queens. Sledge was quite awkward in his Act
I duet with Howarth, not connecting to her musical phrasing or even the
dramatic conversation. His stage deportment was impotent, and the love triangle
plot became quite implausible.
Victoria Vargas’ Anne sparked with complete ease in the coloratura and
line, and infused a fullness and warmth that easily cut through the
orchestration. This is certainly the best singing from this Resident Artist so
far this season.
Performances: Feb. 1, 3, 5, and 6 at Ordway