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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.
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.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
13 Jun 2013
An Evening of Zarzuela and Latin American Music at Los Angeles Opera
The tenor that the audience most wanted to hear, Plácido Domingo, opened the vocal program with “Junto al puente de la peña” (Next to the rock bridge) from La Canción del Olvido (The song of Oblivion) by José Serrano. He sounded rested and his voice soared majestically over the orchestra.
On June 7, the plaza of the Los Angeles Music Center was filled with the strains of Mariachi music as patrons arrived and sat down at the tables for a bite of supper before entering the theaters that surround the open space. Singers and instrumentalists came from the LA Opera Mariachi Project, Mariachi Voz de America, and the Mariachi Conservatory Ensemble Class. This being the twenty-first century, both men and women were represented in almost all categories. At 7:30 the program began inside the Dorothy Chandler Pavilion with the Opera Orchestra playing the prelude to La Verbena de la Paloma (The Festival of Our Lady of the Dove) by Tomás Bretón. The conductor for this and most of the other selections on the program was Spaniard Jordi Bernacer. Later he brought the authentic sounds of Spain to the Intermezzo from Reveriano Soutullo and Juan Vert’s La Leyenda del beso (The Legend of the Kiss).
The tenor that the audience most wanted to hear, Plácido Domingo, opened the vocal program with “Junto al puente de la peña” (Next to the rock bridge) from La Canción del Olvido (The song of Oblivion) by José Serrano. He sounded rested and his voice soared majestically over the orchestra. He also sang selections from Soutullo and Vert’s La del soto del parral (The vineyard) and Maravilla (Wonder). With Uruguayan soprano Maria Antunez, Domingo sang the Pasodoble from Pablo Sorozábal’s La del manojo de rosas, (The Rose Bouquet) and “ En mi tierra extremeña” (In my land Extremadura) from Federico Morena Torroba’s Luisa Fernanda. A mezzo-soprano with a smooth, dulce de leche sound, Antunez sang the Carceleras from Ruperto Chapí’s Las hijas de Zebedeo (The daughters of Zebedee) as her solo for the evening.
Domingo invited Pepe Aguilar’s Mariachi el Zacatecano to participate in this program and together they sang José Alfredo Jimenez’s Ella, which was the only selection not translated in the surtitles. However, you don’t have to know the language to appreciate great music. It just stands on its own. Joshua Guerrero, a tenor with a substantial voice from the Domingo Thornton Young Artist Program, gave a melodious rendition of “De este apacible rincón de Madrid” (From this peaceful corner of Madrid), another aria from Luisa Fernanda. After the intermission, he sang “La roca fria del Calvario” (The cold rock of Calvary) from José Serrano’s La Dolorosa with a great deal of passion and fire. His is a voice we will want to hear soon again.
Former Domingo Thornton Program member, Met Auditions, and Operalia winner Janai Brugger sang another selection from La del manojo de rosas, “No corte más que una rosa” (Don’t cut more than one rose) with sterling silver tones. Hers is a truly beautiful soprano. She looked vivacious in her bright red silk gown when she rendered another solo, the rousing “De España vengo” (I come from Spain) from Pablo Luna’s El niño judio. (The Jewish boy) An expressive artist from whom we can expect a major career, she sang duets with both Domingo and Guerrero.
Domingo also brought two singers from Spain: coloratura soprano Auxiliadora Toledano and tenor Antonio Vázquez. Toledano sang the aria “Me llaman la primorosa” (They call me the exquisite) from El Barbero de Sevilla, a zarzuela by Gerónimo Giménez and Miguel Nieto. She had an authentic coloratura timbre, but unfortunately, no trill. Vásquez sang one of the best-known Zarzuela arias, “No puede ser” (It cannot be), from Sorozábal’s La Tabernera del Puerto (The port tavern keeper) with wonderfully authentic style but a smaller voice than we would have heard from Maestro Domingo, who conducted that single piece.
The applause at the end of the program rolled across the auditorium like thunder and you knew that this audience would not go home without encores. Brugger sang an aria from Gonzalo Roig’s zarzuela, Cecilia Valdez and Antunez sang the Romanza from Ernesto Lecuona’s Maria la O. The most interesting new singer that evening was Joshua Guerrero who finished his appearance with Mexican composer Maria Grever’s song, Jurame (Promise me). Domingo topped the evening off singing Consuelo Velázquez’s Béssame Mucho (Kiss me a lot) with the audience joining him, and a final song that always fits his voice perfectly, Agustín Lara’s Granada.