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Florilegium, Wigmore Hall

During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704). The work of these three composers may be less familiar to listeners, but Florilegium revealed the musical sophistication - under the increasing influence of the Italian style - and emotional range of this music which was composed during the second half of the seventeenth century.

Leoncavallo: Zazà - Opera Rara

Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà - a chanteuse raised from the backstreets to the bright lights - is a walking compendium of emotions. Ruggero Leoncavallo’s eponymous opera lives by its heroine. Tackling this exhausting, and perilous, role at the Barbican Hall, The soprano Ermonela Jaho gave an absolutely fabulous performance, her range, warmth and total commitment ensuring that the hooker’s heart of gold shone winningly.

L'ospedale - an anonymous opera rediscovered

‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.

Šimon Voseček : Beidermann and the Arsonists

‘In these times of heightened security … we are listening, watching …’

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.

Morgen und Abend — World Premiere, Royal Opera House

The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.

Company XIV Combines Classic and Chic in an Exquisite Cinderella

Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Félicien David: Songs for voice and piano

This well-packed disc is a delight and a revelation. Until now, even the most assiduous record collector had access to only a few of the nearly 100 songs published by Félicien David (1810-76), in recordings by such notable artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan Sutherland (the last-mentioned singing the duet “Les Hirondelles” with herself!).

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.

Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.

Great Scott at the Dallas Opera

Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.

Schubert and Debussy at Wigmore Hall

The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.

John Taverner: Missa Corona spinea

This new release of John Taverner’s virtuosic and florid Missa Corona spinea (produced by Gimell Records) comes two years after The Tallis Scholars’ critically esteemed recording of the composer’s Missa Gloria tibi Trinitas, which topped the UK Specialist Classical Album Chart for 6 weeks, and with which the ensemble celebrated their 40th anniversary. The recording also includes Taverner’s two settings of Dum transisset Sabbatum.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.

La Bohème, ENO

Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.

Luigi Rossi: Orpheus

Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).

64th Wexford Festival Opera

Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.



C Major 706104
09 Sep 2011

Les Troyens by La Fura dels Baus

When the opera opens, a chorus of Trojan is rejoicing that the Greeks have abandoned the war and gone home.

Hector Berlioz: Les Troyens

Énée: Lance Ryan; Chorèbe: Gabriele Viviani; Panthée: Giorgio Giuseppini; Narbal: Stephen Milling; Iopas: Eric Cutler; Ascagne: Oksana Shilova; Cassandre: Elisabete Matos; Didon: Daniele Barcellona; Anna: Zlata Bulycheva. Valencia Regional Government Choir (Cor de la Generalitat Valenciana). Valencian Community Orchestra (Orquestra de la Comunitat Valenciana). Valery Gergiev, conductor. La Fura dels Baus, staging. Carlus Padrissa, stage director. Ronald Olbeter, stage designer. Peter van Praet, lighting designer. Chu Uroz, costume designer. Recorded live from the Palau de les Arts “Reina Sofia”, Valencia, Spain, 2009.

C Major 706104 [Blu-Ray]

$37.99  Click to buy

They are dressed as contestants in a hockey game—at the end of the second act we will learn, from Casssandra’s jersey, that they play for Team Troy.

This is startling. On closer inspection we see that the costumes also have elements of the clone warriors in Star Wars, and many other sorts of mechano-futuristic adventure-kitsch will appear later: the Trojan Horse is a kind of space capsule, made of steel planes that become whirling blades; when, in the first act pantomime, Hector’s little orphan puts an offering on his father’s tomb, it turns out to be a toy monster-truck. Later, in the Carthaginian acts, Dido and her court inhabit a space ship: four huge octagonal rings with a nose cone in back, and eight giant gray inflated cylinders protruding forward, creating an allusion to a hull. Dido has left Phoenicia to build a city, not in Africa, but in outer space.

Berlioz’s singers undergo a great many transports, and rapture, in this low-gravity environment, always means levitation. Cassandra and the other suicidal women rise out of the clutches of the Greek rapists; Dido and Aeneas rise into the air as the they sing their duet, at the end of which Mercury flies by in a satellite to urge Aeneas to leave Dido and fulfill his mission; Hylas, at the beginning of act 5, is not in the crow’s-nest of a ship but floating in a space suit, tethered to a satellite, with Greenland far below.

Carlus Padrissa, the stage director, has other technologies in his armamentarium. The cast often lug computer monitors with them: during the lovely act 4 septet, the monitors show treble clefs and other music-notation detritus, reinforcing the idea that this opera is, in fact, an opera. At the end of act 2, the rear projection displays a computer monitor sending alarming messages of system failure and virus alert. Indeed the production seems designed to be seen less in an opera house than on a computer screen: at the end of act 5, as Dido commits suicide, she stands on the nose cone (now outfitted as a kind of bed), upon which computer monitors are erected, showing the image of the Trojan Horse from act 1: Dido is dreaming of a new Trojan Horse to lay waste the second Troy that Aeneas will build in Italy. Objects continually threaten to flatten into digital images, in this extremely pixeled production.

I admire the way in which Padrissa attended to the strictly narrative and metaphorical aspects of the text: aspects that Berlioz left undramatized, Padrissa dramatized. When Cassandra sings of the vultures that will eat the Trojans’ bodies, the circumvolving smoke on the rear projects starts to turn into shadowy images of huge pecking birds. When Aeneas narrates the death of Laocoon, strangled by sea serpents, two gray cylinders (which will be part of the space ship in act 3) come to life and (with dancers strapped to the ends to represent mouths) start to devour Laocoon. The visual elements become a second orchestra, telling what Berlioz’s staging was (in Berlioz’s time) unable to show.

Musically, the production is beyond anyone’s dreams of excellence. Lance Ryan’s Aeneas is rhythmically careless in places, but outdoes Vickers in vehemence and (maybe) vocal power; Elisabete Matos’s Cassandra and Daniela Barcellona’s Dido are merely superb. Gergiev conducts with ardor, subtlety, and decisiveness. But: not many members of the cast can sing French vowels without discoloration.

Daniel Albright

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