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One of the initiatives for the community at the Lucerne Festival is the
‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber
music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
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.