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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.
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 Albanaian soprano Ermonela Jaho gave an absolutely fabulous performance, her range, warmth and total commitment ensuring that the hooker’s heart of gold shone winningly.
‘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.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
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.
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’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
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.
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”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
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.
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 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.
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.
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.
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.
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
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).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
21 Sep 2011
Turandot in San Francisco
Los Angeles has been good to Turandot. The gritty 1984 Andre Serban production inaugurated an opera company in Los Angeles where a mere eight years later L.A. Opera bestowed the splendid Luciano Berio ending upon the world in an uber-pompous Gian-Carlo del Monaco production.
Meanwhile that same year (1992) Los Angeles artist David Hockney bestowed a Turandot upon San Francisco (and Chicago) that is pure Tinseltown. L.A. is famously the Hockney muse, thus the specific muse for the technicolor Hockney Turandot has to have been Grauman’s Chinese Theater. Like this National Historic Monument, the Hockney Turandot vibrates in theatrical shapes and Chinese red, and by now it too is an historic monument.
San Francisco has put its unique stamp solidly on Turandot as well. The 1977 Jean-Pierre Ponnelle production had its massive stone Buddha that gestured and wept blood when the steely Monserrat Caballé succumbed to Luciano Pavarotti in their role debuts, this back in the days when San Francisco Opera pushed the progressive opera envelope in the U.S.
Leah Crocetto as Liù
These days it is a bit different in San Francisco. There is a stamp of a different sort, it is musical and it too pushes the envelope. Specifically it is the quixotic Italian conductor Nicola Luisotti who makes every score he touches vibrate with color, energy and sometimes questionable theatricality. Put this together with the timeless Hockney Turandot and you hit remarkable pay dirt — the current Turandot in San Francisco!
The Hockney Turandot is, no surprise, like a painting in that it is two dimensional. On this flat surface Ping, Pang and Pong complain, Liu sacrifices, Calaf thunders and Turandot rages. The lack of depth plays directly into the hands of the maestro who likes his singers right downstage center where he communes mightily with his voices and maybe even with Puccini. The current staging by Carnett Bruce is sensitive to artist, character and story telling, and it is precise and efficient in somehow getting and keeping the artists where the maestro wants them and where Hockney surely saw them.
The performance was riveting from beginning to end. Even so there were those scenes that glowed with new life — the Ping, Pang, Pong conversation for example, made intimate by the three Hockney straight backed chairs painted onto a drop and by the maestro’s oh-so smooth intermingling of their vocal lines. Liu’s first act prayer 'Signore ascolta' was magical in its Adler Fellows innocence, and the Alfani duet (“who is Berio?” Luisotti surely would ask) that ends the opera was articulated with a surprising intimacy that made us actually feel a renewed humanity — no small feat amidst all that bombast.
Marco Berti as Calaf, Gred Fedderly as Pang, Daniel Montenegro as Pong and Hyung Yun as Ping
The biggest vocal presence was Italian tenor Marco Berti as Calaf who used his strangely brutal 'Nessun dorma' to threaten the Chinese royalty and population even more, and more quickly dismiss Liu’s sacrifice. Swedish soprano Iréne Theorin was far more lyrical in her capitulation than the usual Turandot, though there was icy rage aplenty as she well anchored this story of anger versus power. Against this big house firepower the Liu of Adler Fellow Leah Crocetto was indeed sacrificial, a sacrifice of this symbolic character who must fully embody the supernal power of love. The mix of musical cultures does not work — the Adlers are specifically nurtured contemporary artists whose sophistication is at odds with can belto international artists.
The Timur of Raymond Aceto fulfilled its narrative obligations without adding pathos. The Ping of Hyung Yun dominated the trio of courtiers in association with the vivid Pang of L.A. character tenor Greg Fedderly. Pong was Adler Fellow Daniel Montenegro.
The visual sophistication of the David Hockney Turandot begs precise and brilliant lighting, a need recognized from the inception of this production those many years ago. Just now the lighting was reconfigured by Christopher Maravich though the ending was new. Mo. Luisotti endowed the final chord of the performance with an intense, nearly screaming crescendo that was matched by a crescendo of bright, brighter, blinding light.