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Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
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.
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.