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Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
09 Oct 2012
I Capuleti e i Montecchi in San Francisco
Give me good verses, I’ll give you good music, said Bellini to his librettist Felice Romani. Give me a good director and I’ll give you good opera surely thought San Francisco Opera general director David Gockley.
Not just good opera but great opera took stage at the last night in San Francisco, adding new found artistic luster to the brutal conflicts of the Capulets and the Montagues. The pretended death of Giulietta was exquisitely suffered both by Bellini’s Romeo and his rival Tebaldo, and ultimately emotional pain of monumental musical intensity and ineffable sweetness melted into the tragic release of the love-death. Near legendary mezzo Joyce DiDonato hand in hand with soprano Nicole Cabell walked triumphantly into the beyond.
It was real, this beyond. It was in fact the proscenium frame, at once the Romantic love-death itself and, Mme. DiDonato and Mlle. Cabell left standing in front of the fallen curtain, it was opera. The enraptured audience leaped to its feet and roared.
Giulietta, tragically denied true love (this is pristine Romanticism), had literally climbed the wall. Standing on a sink, the lone symbol of a physical world, balancing herself eerily on one foot, she reached up towards an unattainable suspended image of entwined lovers and floated vocal lines that soared and fell with suspended emotion in what seemed a musical eternity (uhm, this is high, very high Romanticism).
These scenes, the tragic ones, occurred in a space with a mirrored floor negating all sense of physical gravity. There was no reference to defined space save one vertical line that created a sort of metaphysical reality, a line that was always the same and never the same, clothed in an infinity of changing color, the ebb and flow of love. The stage, drawn by French designer Vincent Lemaire and lighted by Italian designer Guido Levi, provided an abstract space for love, may we say, with the Romantics, the most abstract world of them all.
In these scenes director French Vincent Broussard used an almost framed painting, though with vaguely defined, mostly abstract images that suspended the search for specific reference. However in the larger scenes with public meaning he completed the proscenium frame across the bottom of the stage making it the fully formed image of a physical painting. It became a real space with a background of infinitely ascending steps on which brilliantly colored and lighted courtiers spread themselves, and later the elaborately clothed, now disheveled women descended, remnants of the unseen defining battle. Mr. Broussard landed squarely on a descriptively minimalist language that could elevate this simple story to Bellini’s metaphysical world of music.
Nicole Cabell as Giulietta
The most astonishing scene was Giulietta’s passage in her underclothes across the sharp and treacherous lower edge of this worldly frame as she sought to resolve her plight, and did so finally with the help of Lorenzo, the family physician (Felice Romani was far more practical that Shakespeare who complicated matters by appointing a priest to this task). Or was it Romeo’s address to the sleeping Giulietta, now no longer laid out on her wedding dress but frozen upright facing Joyce DiDonato who was fully possessed vocally and physically by Bellini’s music.
There was no separation between the pit and the stage, the changing stage pictures themselves almost seemed the black printed notes of Bellini’s score made into extraordinarily beautiful sounds by Italian conductor Riccardo Frizza and the San Francisco Opera Orchestra. This maestro achieved the exquisitely delicate and felt Romanticism that makes Bellini the epitome of such difficult, elusive and rare operatic art.
It was a nearly phenomenal achievement in bel canto. Like all great opera it was a collaboration of huge forces. The fine Albanian tenor Saimir Pirgu gained vocal security during the evening to viably take on the incomparable Joyce DiDonato in their confrontation. The brilliant Nicole Cabell as Giulietta in her defining long black wig found an unerring vocal balance that did not falter in confronting the extraordinary directorial demands of this role.
Joyce DiDonato as Romeo and Saimir Pirgu as Tebaldo
The high-style costumes designed by famed French couturier Christian Lacroix forcefully etched heightened supernatural character with a sophisticated sense of once-upon-a-time. The actual set became a canvas on which lighting designer Levi detailed mood after mood, choosing momentary detail that rose to the emotional surface in the shadowy supra-rational state of consciousness, never permitting a face or voice to destroy the complex metaphysical tonalities of the production.
It was an enthralling evening at the War Memorial Opera House, the ovations were enormous. And, yes, metteur en scène Vincent Broussard braved exuberant booing at his curtain call. Go figure.
Giulietta: Nicole Cabell; Romeo: Joyce DiDonato; Tebaldo: Saimir Pirgu; Lorenzo: Ao Li; Capellio: Eric Owens. San Francisco Opera Chorus and Orchestra. Conductor: Riccardo Frizza; Stage Director: Vincent Boussard; Set Designer: Vincent Lemaire; Costume Designer: Christian Lacroix; Lighting Designer: Guido Levi. War Memorial Opera House, San Francisco. September 29, 2012