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With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on
Friday night was the latest in the Coliseum’s recent run of new and
co-produced productions, and also renowned director Peter Jones’ latest foray
into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the
same arts festival in Coventry for which Britten’s War Requiem was
written and in fact the two works have something in common, dealing with the
issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s
Die Fledermaus several debuts are notable to both American and Chicago
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
Opera in the British Isles might seem a rather sparse subject in the period 1875 to 1918. Notoriously described as the land without music, even the revival of the native tradition of composers did not include a strong vein of opera.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera
House risks laying the house’s Director of Opera open to charges of
antiquated mores and misogyny: for he seems to suggest that the women are just
as bad, if not worse, than their seducer — and that a soulful man who seeks
genuine love is likely to find his ‘ideal beloved’ forever out of reach.
21 Oct 2012
Mozart and Salieri — Young Artists at the Royal Opera House
Nikolai Rimsky-Korsakov’s opera Mozart and Salieri (1897) received its first ever performance at the Royal Opera House as the highlight of Meet The Young Artists Week at the Linbury Studio Theatre.
Salieri is jealous because Mozart makes composing look easy. He poisons Mozart but weeps, since he’s reading the score for the Requiem, presumably overwhelmed by its beauty. We know the plot is fiction, but the text is by Alexander Pushkin, who lifts it above maudlin melodrama. Salieri can kill Mozart but he can’t kill his art. In destroying his rival, Salieri has compromised his integrity. “Can crime and genius go together?” he asks himself, and consoles himself with the thought that Michelangelo killed his model for the crucified Christ to get a better likeness for death. Does art justify murder? Pushkin and Rimsky-Korsakov possibly knew the tale was untrue, making Salieri’s excuse highly ironic.
Mozart and Salieri is unusual. The part of Salieri so dominates the work that it is more psychodrama than opera. Mozart and Salieri barely interact. Mozart isn’t a character so much as the embodiment of music. The real protagonists here are Salieri and the orchestra. At critical moments, Rimsky-Korsakov adds apposite musical quotations. Moments of Cherubino’s “Voi che sapete” convey Mozart’s youthful impudence. Fortepiano melodies are played, and shrouded figures sing excerpts from Mozart’s Requiem. References to Salieri’s opera Tarare and to Beaumarchais and Haydn are embedded into text and orchestration, expanding Salieri’s monologue. He can “hear” but he can’t create like Mozart can. The Southbank Sinfonia was conducted by Paul Wingfield, with Michele Gamba playing the keyboard Mozart is seen playing invisibly on stage, his hands lit with golden light. A magical moment.
Ashley Riches sang the demanding role of Salieri. His experience and skill come over well, even though he’s been a member of the Jette Parker Young Artists programme for barely a month. Later this year, he’ll be singing parts in The Royal Opera House Robert le Diable, Don Carlo and La rondine, and covering the title role in Eugene Onegin. In this opera, Mozart isn’t given much to sing, and the range in the part is limited, but Pablo Bemsch developed the role purposefully through his acting. Salieri thinks Mozart is skittish: Bemsch with sheer personality shows that Mozart is a stronger character than Salieri could ever fathom. Bemsch is a second-year Young Artist and has been heard extensively. He’s covering Lensky in February 2013.
The Jette Parker Young Artists Programme isn’t just for singers but focuses on theatre skills. This production was one of the most sophisticated I’ve seen for a group with these relatively limited resources. Sophie Mosberger and Pedro Ribeiro designed an elegantly simple set, which suggested that Salieri, despite his wealth and status, was a fundamentally isolated man. The little puppet figure buffeted by figures in the darkness suggested that both Mozart and Salieri were victims of forces greater than themselves. Exquisite lighting by Warren Letton, colours changing as mysteriously as the music. A stunning finale, where the dark figures singing excerpts from the Requiem move around lighted candles. Since financial problems will haunt the opera world for a long time to come, this restrained but poetic minimalism may be the way ahead. This production was intelligently thought through, and musically sensitive.
Before Rimsky-Korsakov’s Mozart and Salieri, we heard Mozart’s Bastien and Bastienne, written when the composer was twelve years old. It’s a slight piece about a courtship between shepherd and shepherdess. Staging this literally would expose its weaknesses. Ribeiro and Mosberger set the Singspiele in a vaguely industrial landscape, which added much needed good humour and gave the singers more material with which to develop character. The trouble is, neither Bastien or Bastienne are much more than stereotypes. David Butt Philip, another new Young Artist, generates interest with his voice though the part is shallow. Dušica Bijelić sings sweetly but needs to project more forcefully. Jihoon Kim made a much more convincing portrayal of Colas, the wise older man who sorts things out. He was a striking Hector’s Ghost in the Royal Opera House Les Troyens in June 2012, and will be singing in several ROH productions in the 2012/13 season.