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Verdi Un ballo in maschera at the Royal Opera House - a masked ball in every sense, where nothing is quite what it seems. On the surface, this new production appears quaint and undemanding. It uses painted flats, for example, pulled back and forth across, as in toy theatre. The scenes painted on them are vaguely generic, depicting neither Boston nor Stockholm, where the tale supposedly takes place. Instead, we focus on Verdi, and on theatre practices of the past. In other words, opera as the art of illusion, not an attempt to replicate reality. Take this production too literally and you'll miss the wit and intelligence behind it.
Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.
Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.
For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.
O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.
Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.
On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.
John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.
Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.
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.
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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.
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.