Recently in Performances
The New York Festival of Song, founded in 1988 by Michael Barrett and Steven Blier, offers unique evenings of songs rarely heard, or songs rarely heard in conjunction with one another.
Falstaff and Die Meistersinger are among the pinnacles if not the pinnacles of nineteenth century opera. Both operas are atypical of the composer and both operas are based on a Shakespeare play.
To borrow from the great Bard himself: “the course of true love never did run smooth.”
Florencia in el Amazonas was the first Spanish-language opera to be commissioned by major United States opera houses.
Gaetano Donizetti wrote a comedy or dramma giocoso called Le convenienze ed inconvenienze teatrali (The Conventions and Inconveniences of the Theater), which is also known by the shorter title, Viva La Mamma!.
Vincenzo Bellini composed Norma to a libretto that Felice Romani had fashioned after Alexandre Soumet’s French play, Norma, ossia L'infanticidio (Norma, or The Infanticide).
In order to mount a successful production of Alban Berg’s opera Wozzeck, first performed in 1925, the dramatic intensity and lyrical beauty of the score must become the focal point for participants.
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).
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
‘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.
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.
02 Feb 2012
Mozart’s Die Zauberflöte at Lyric Opera of Chicago
Lyric Opera of Chicago’s recent revival of Mozart’s Die Zauberflöte offered a production with vocal pairs carefully matched and dramatic representation expressing the varying shades of Mozart’s score.
Tamino and Pamina, the pair who must undergo separately tests of purification,
were sung by Charles Castronovo (debut) and Nicole Cabell. The Queen of the
Night, mother of Pamina, featured Audrey Luna (debut) and Evan Boyer assumed
the role of Sarastro, since Günter Groissböck was announced as indisposed for
the performance reviewed. Stéphane Degout (debut) and Jennifer Jakob were a
musical and dramatic delight as Papageno and Papagena. Sir Andrew Davis
conducted with attention to nuance while maintaining always a sense of the
whole. During the overture Davis encouraged a terse interplay among the strings
with a measured drive forward. Pauses were effective at transitional moments
just as shifting tempos were integrated to give significant shaping to the
The three ladies of the Queen of the Night acted and sang as a splendid
trio. Once Tamino’s calls for help prompt their arrival and slaughter of the
serpent pursuing him, the ladies moved in unison yet each doted individually
over the unconscious hero. Elisabeth Meister as the First Lady led the ensemble
with her focused soprano binding the vocal line as she encouraged a report to
the Queen of the Night. Cecelia Hall and Katherine Lerner were equally
entertaining in their attempts to remain vocally and physically in the presence
of Tamino. When the latter awakens, he is met of course by Papageno who accepts
credit for having delivered the hero from danger. In his introductory aria,
“Der Vogelfänger bin ich ja” [“I am indeed the birdcatcher”], and
ensuing dialogue Stéphane Degout combined a lyrical confidence with delightful
swagger in acknowledging the unfounded recognition. As his discussion with
Tamino is interrupted and punished, when the three ladies returned, Degout’s
Papageno displayed his protests with convincing pantomime. In control of the
stage once again, the three ladies present Tamino with a portrait of Pamina. In
reacting to the portrait Castronovo’s performance of “Dies Bildnis ist
bezaubernd schön” [“This portrait is magically beautiful”] displays
lyrical heft and beauty of tone while some of the louder pitches could be
rounded or softened to express the magical attraction. The entrance of the
Queen of the Night and her first bravura aria provided Ms. Luna with
opportunities to show her vocal facility [“O zittre nicht, mein lieber
Sohn” (“O do not tremble, my dear son!”)]. Luna’s dramatic high notes
on “Ach helft!” [“Oh help!”] were especially effective, these being
followed by practiced runs in the famous coloratura passages. After
Tamino and Papageno receive their magical instruments, flute and glockenspiel,
from the ladies, they are instructed to follow the lead of the three
Knaben [“youths”] to find the path to Pamina and rescue her from
the palace of Sarastro.
Nicole Cabell as Pamina
At the first appearance of Pamina under the guard of Monostratos, Nicole
Cabell projected a noble demeanor on lines such as “Der Tod macht mich nicht
beben” [“Death does not make me quake”]. In the ensuing duet with
Papageno, “Bei Männern welche Liebe fühlen” [“For men who truly sense
love”], Ms. Cabell sang expressive, arching lines while Degout truly came
into his own with a superbly resonant tone and appropriate legato. In
the following scene Tamino searches for the entrance to Sarastro’s palace, in
order to confront the alleged captor, just as Papageno leads Pamina in search
of the flute’s response. Ms. Cabell’s encouragement to speak only the truth
(“die Wahrheit”) rang out in pure high tones in preparation for the
entrance of Sarastro. Mr. Boyer’s assumption of this role communicates the
requisite weight of authority, and his distinctive and well developed low
register contributes to a seamless vocal technique. His dramatic approach might
be enhanced at this point in the action in order to signal the gravity of the
Preparatory ceremony and eighteenth-century dress are emphasized in this
production at the start of Act Two as both Pamina and Tamino are given
instruction toward their trials of purification. Mr. Boyer’s Sarastro and the
chorus assumed here solemn tones in keeping with the following ritual scenes.
The interplay of power between the Queen and Sarastro focuses now on Pamina.
Ms. Luna projected accelerating coloratura intensity in her aria
“Der Hölle Rache” [“The wrath of Hell”] as she encouraged her daughter
to kill Sarastro. Mr. Boyer’s subsequent rendition of “In diesen heil’gen
Hallen” [“In these hallowed halls”] displayed excellent breath control
with rounded bass emphasis fully audible. The final two highlights of this act
belonged indeed to Ms. Cabell and Mr. Degout. Pamina’s “Ach, ich
fühl’s” [“O, I feel it”] in response to Tamino’s enforced silence
was performed with emotional commitment, skillful diminuendo, and further vocal
decorations emphasizing the heroine’s plight. In Papageno’s “Ein Mädchen
oder Weibchen” [“A maiden or a wife”] Degout acted and sang with genuine
ardor, while he climbed onto the stage following his search through the aisles
of the audience. In this scene Degout captured the essence of both the
character and the music as he embellished his yearning lines with tasteful
appoggiatura. In keeping with this performance Papagena was a fitting
Scene from The Magic Flute