Recently in Performances
After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
second city of Novi Sad on 27th October would be transplanted from
6th century BC Babylon to post-Saddam Hussein Tikrit or some
bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.
Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
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