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This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
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.
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.