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If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.
Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
19 Jan 2013
Baroque treasures at the Barbican, London
The Barbican is going have a bit of a baroque moment next month. Joyce DiDonato will be bringing her Drama Queens programme, then there will be complete performances of Handel's Radamisto and Lully's Phaeton.
Accompanied by Il Complesso Barocco directed by Dmitry Skinkovsky, Joyce DiDonato will be performing a selection of arias from great queen roles in baroque opera, on February 6. She performs arias for Cleopatra by Handel (from Giulio Cesare) and Hasse (from Antonio e Cleopatra). Hasse married Handel's leading lady, Francesca Cuzzoni, and settled in Naples, but Antonio e Cleopatra dates from early in his career when he was based in Naples. DiDonato will also be singing one of Rossane's arias from Handel's Alessandro, written for the great trio of singers Senesino, Francesca Cuzzoni and Faustina Bordone with Rossane being sung by Bordone.
An earlier generation is represented by Ottavia's final aria from Monteverdi's L'Incoronazione di Poppea.
Other baroque composers in the recital are rather less well known. Giuseppe Orlandini (1676 -1760) worked extensively in Italy, but his opera Arsace was premiered at the Kings Theatre in London in 1721. DiDonato will be singing an aria from his opera Berenice which dates from 1725. Geminiano Giacomelli was Italian born, but worked extensively in Vienna. His opera Merope was premiered in Venice in 1734, and DiDonato sings an aria from this opera. Giovanni Porta was another Italian composer who worked in London, his opera Numitore was premiered at the Kings Theatre in 1720. We will be hearing an aria from Ifigenia in Aulide, which was premiered in Monaco in 1738
The orchestra will also be playing instrumental music including a Vivaldi concerto written for Dresden, and the passacaglia from Handel's Radamisto.
We get the complete Radamisto on Feburary 10 with David Daniels singing the title role in a concert performance with Harry Bicket conducting the English Concert with Patricia Bardon as Zenobia, Luca Pisaroni as Tiridate, Elizabeth Watts as Tigrane, Brenda Rae as Polisenna and Robert Rice as Farasmene
Radamisto dates from 1720 and is one of the most serious of Handel’s serious operas (opera seria) written for the Royal Academy in the earlier part of his career. His aristocratic patrons who ran the academy were interested in seeing noble characters put through difficult situations, morally uplifting. The plot can sometimes seem convoluted, and there is no light relief, but Handel’s response to the characters difficulties is wonderfully subtle and humane. After the first performance in April 1720, Handel radically re-cast the opera so that the title role could be sung by the alto castrato Senesino, recently arrived in London. This gives us the unusual situation where one of Handel’s revisions to his Italian operas is as valid artistically as the original. The English Concert will be performing the revised version.
Prior to their Barbican performance, they are performing the work at the Theatre des Champs Elysees in Paris and at Symphony Hall in Birmingham.
Then on 10 March we move to Paris, as Christoph Rousset and Les Talens Lyriques perform Lully’s Phaeton with Emiliano Gonzalez Toro, Ingrid Perruche, Isabelle Druet, Sophie Bevan, Andrew Foster-Williams, Matthew Brook, Benoît Arnould, Cyril Auvity, Virginie Thomas. Lully wrote the opera to a libretto by his regular collaborator Philippe Quinault and the work premiered at Versailles in 1683. Its plot, dealing with the hubris of Phaeton, son of the Sun god, can be seen as an allegory of the punishment awaiting those mortals who dare to raise themselves as high as the sun (i.e. the Sun King, Louis XIV). The opera is the 10th of Lully’s 14 tragedies lyriques. As with all operas in the form, it mixes aria with choruses and extensive dance episodes which are integrated into the plot.