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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.
20 May 2013
Brahms Third in San Francisco
Nicola Luisotti and the San Francisco Opera Orchestra climbed out of the War Memorial pit, braved the wind whipped bay and held spellbound an audience at Cal Performances’ Zellerbach Auditorium at UC Berkeley.
It was an extraordinary evening at the opera, a perfect mise en scène (none) for San Francisco’s tyrannical maestro. The 70 member orchestra sat huddled in a black void and sang in one magnificent voice Brahms’ most lyrical symphony, its colors shining as never before, its moods of turgid Brahmsian contentment translocated into luminescent, metaphysical Latin lyricism.
It was opera, and this was understood by the audience who felt each movement as an extended aria, and unabashedly applauded each movement in unbridled appreciation of great singing. It was symphony as opera, the fifty-year-old composer spinning this famous yarn of contentment, its thematic play subsumed into joy of performance. Bel canto indeed.
The maestro can sometimes, even often be accused of imposing excessive drama, but Brahms offers him very little of it to manipulate. Thus the musical excess — and there was plenty of it — was limited to expected extreme tempo alterations and cantabile melodic exaggerations that illuminated and transfixed more than distorted an Alpine pastoral lyricism. Though it seemed a subdued Luisotti it was still a possessed Luisotti, a powerful conductor with a unique voice.
The Opera orchestra is known to be a very able ensemble, after all it performs the most difficult orchestral scores that exist. The sludgy sound of the War Memorial Opera House prevents perception of the beauty of its sound, sounds that until now we could only imagine. Though Zellerbach Hall is a dowdy acoustical space — the sound at first had a cavernous quality but once accepted it permitted the winds of the orchestra to sing with a beauty of tone reminiscent of the Vienna Philharmonic (yes, really it’s true). What the strings may lack in clarity of tone they make up in boldness, and this alone defines and qualifies this ensemble as a truly dramatic orchestra.
It was an evening of orchestral drama. Not least of which was the Nino Rota 1962 Piano Concerto in C major. Not much of Italian Fascist musical culture is around these days, but its heroic post-Romanticism certainly informed composer Rota’s musical formation and aspiration. Add this to the heady filmic creativity at mid-century Cinecitta and you have the sense of this musical relic. It challenged elegant French pianist Aldo Ciccolini at its premiere in 1987 but was a-piece-of-cake just now for 34 year-old Italian pianist Giuseppe Albanese (no relationship to Licia).
Dressed in formal wear with scarlet spats young Albanese visually startled, and then attacked the American Steinway with the confidence of a finished post-Boulez virtuoso and a highly intelligent contemporary musician. Like Luisotti pianist Albanese was possessed by the music, the mechanics of the score and its execution played out physically and intellectually in full view, or let us say a vista. It was pure theater of musical performance. Mr. Albanese is also Professor of Philosophy at the University of Messina where he teaches the “methodology of musical communication.”
The Rota concerto was Prokofiev, Rachmaninoff and Tchaikovsky but more so it was the myriad moods that composer Rota mined for films ranging from 8 1/2 to Godfather. These moods were often conversations between the piano and an instrument of the orchestra, raptly and rapturously executed in an atmosphere of absolute artistic collaboration imposed by the maestro.
The audience roared (yes, it was a vocal opera audience), and brought Albanese back for curtain calls. But two were enough for these lovers of voices. Never mind. This determined artist came back unsummoned to perform four encores — to our great pleasure! The highlights were Scriabin’s Left Hand Nocturne played with his downstage arm (the right one) hanging limply, and a version (showers of notes) of Gershwin’s song The Man I Love created by American piano virtuoso Earl Wilde.
Conductor Luisotti opened the program with Puccini’s 1883 Capriccio Sinfonico. From this early work Puccini literally recycled the flashier moments to La boheme (1896) and even Suor Angelica (1918). It served as a perfect, amusing overture to the evening.