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The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.
Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.
As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.
Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.
Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.
That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.
Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.
This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.
John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.
On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.
Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.
Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.
It might seem churlish to complain about the BBC Proms coverage of Pierre
Boulez’s 90th anniversary. After all, there are a few performances
dotted around — although some seem rather oddly programmed, as if embarrassed
at the presence of new or newish music. (That could certainly not be claimed in
the present case.)
I recently spent four days in St. Petersburg, timed to coincide with the
annual Stars of the White Nights Festival. Yet the most memorable singing I
heard was neither at the Mariinsky Theater nor any other performance hall. It
was in the small, nearly empty church built for the last Tsar, Nicholas II, at
As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.
A brilliant theatrical event, bringing Handel’s theatre of the mind to
life on stage
‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.
Asphyxiations, atrophy by poison, assassination: in Italo Montemezzi’s
L’amore dei tre Re (The Love of the Three Kings, 1913) foul deed
follows foul deed until the corpses are piled high.
The precision of attack in the opening to Beethoven’s Creatures of Prometheus Overture signalled thoroughgoing excellence in the contribution
of the CBSO to this concert.
When he was skilfully negotiating the not inconsiderable complexities,
upheavals and strife of musical and religious life at the English royal court
during the Reformation, Thomas Tallis (c.1505-85) could hardly have imagined
that more than 450 years later people would be queuing round the block for the
opportunity spend their lunch-hour listening to the music that he composed in
service of his God and his monarch.
27 Aug 2011
Two one-act comic operas from New York Festival of Song
The New York Festival of Song, created and run by Steven Blier and Michael Barrett, dedicates itself to what one might call “American lieder” — art songs by top American composers, classic Broadway, and operatic numbers.
In 2008 the festival branched out to present two one-act comic operas. The
two librettos by Mark Campbell center on domestic love. In
Bastianello, a new groom leaves his wedding after his wife displeases
him, and through a series of encounters with other couples, learns that in a
marriage, one must learn to forgive others’ faults. Lucrezia finds
the title character married to an older man, and seduced by one Lorenzo, but it
is Lorenzo who finds at the end that it is he himself who has been seduced.
Campbell writes some exceedingly clever lines, which sometimes zing and
sometimes — don’t zing. The actual plot shenanigans tend to be rather
cumbersome, so Campbell relies often on the unexpected rhyme to prompt a giggle
“In my heart these feelings aren’t foreign.
To end this fight/We’ll do what’s right
And flip a florin.”
That “florin” gives a taste of the rather dated genre here — if the
copyright for these libretti were 1908 instead of 2008, only the occasional
anachronism would be alarming. But Campbell does have some lines less musty and
“Is the sex cold? Is it distant? That’s a laugh. Try
All the funny lines imaginable, however, wouldn’t deepen the
characterization or supply the missing narrative interest. “Clever” can
only go so far in maintaining interest in a story and characters, even in one
act operas. The composers had their work cut out for them. William Bolcom’s
music for Lucrezia fares best, possibly because the libretto he scored
is less segregated into scenes. Bolcom is able to keep up a constant flow of
fairly attractive musical invention, shifting subtly from one mood to another.
His familiar mélange of ragtime, tango and faux-Gershwin works well for the
story. Blier and Barrett at the pianos certainly play with rhythmic flair.
John Musto’s idiom for Bastianello is not radically different
from Bolcom’s, but drier melodies and less variety of tempo makes this
shorter opera feel as long as Lucrezia. The five singers seem to be
enjoying themselves greatly, at any rate, and seen live they surely made a fine
impression. Paul Appleby has a supple tenor voice, perfect for “male
ingénue” parts. Matt Boehler and Patrick Mason take on the male “character
voice” parts and mug in ways appropriate to the settings. Sasha Cooke
captures the sly scheming of Lucrezia very well, and she and Lisa Vroman
skillfully take on multiple roles in Bastianello.
Sondheim-aficionados and fans of the type of well-trained vocalism on
exhibit here will find this Bridge recording enjoyable enough. It may not
represent the ideal calling-card for the New York Festival of Song, however.
Fortunately, that institution seems to be enough of an established success that
a calling card — as antiquated a concept as much of the libretti’s
dramaturgy — should prove superfluous.