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Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
08 Aug 2013
A Very Real Traviata
Conductor Leo Hussein, like many of the artists in the production, was making his debut. His take on the story was immediately ascertainable when he played parts of the overture with an earthy tone. This was Violetta’s world, where otherwise refined men wined, dined, and cavorted with the most expensive Parisian courtesans.
On Monday August 5 Santa Fe opera presented a revival of Giuseppe Verdi’s La Traviata with Brenda Rae in the title role. Since there is no curtain in Santa Fe, the entering audience saw a stage full of boxes with varying heights. Conductor Leo Hussein, like many of the artists in the production, was making his debut. His take on the story was immediately ascertainable when he played parts of the overture with an earthy tone. This was Violetta’s world, where otherwise refined men wined, dined, and cavorted with the most expensive Parisian courtesans.
The women’s costumes were colorful with extensive décolletage, tiny waists, and huge slits in their full skirts. Director Laurent Pelly acknowledged using costume design to help tell the story. Rae was a totally uninhibited Violetta who was smitten with Alfredo as she sang “Ah forsè lui” but repented her momentary lapse in an emotional “Sempre libera”. She has a good-sized voice and, except for one or two notes, her coloratura was neat and clear. Rae is a fine actress who easily communicates her feelings across the orchestra pit.
Michael Fabiano as Alfredo and Roland Wood as Giorgio Germont
Michael Fabiano sang Alfredo with innumerable gradations of dynamics and Hussein kept the orchestra’s sound level at a point where the lyric beauty of his voice could best be heard. He is a tenor whose talent promised much and in this performance he gave us even more than what was expected. Roland Wood was an officious Germont who began with a rather gruff sound, but his tone improved as he sang the part’s more lyrical moments, however. Despite the constant presence of the boxes instead of space and furnishings, Stage director Laurent Pelly and his artists succeeded telling the story in a most convincing manner.
Brenda Rae is a consummate actress who used halted phrasing and variations in dynamics to depict Violetta’s weakness. When she read Germont’s letter in the last act, she sang “è tardi” (it’s late) and dropped the mirror in her attempt to sit up. Then leaning over the bed in her distress, she looked into the fallen mirror to sing “Oh, come son mutata” (how I have changed). That brought the immediacy of her heartbreak to everyone in the theater. Verdi brought his message home by showing the stark contrast between her anguish and the cheerfulness of the masked chorus of holiday celebrants. The presence of Dale Travis as Doctor Grenvil was a bit of luxury casting. His bass-baritone voice added a great deal to the opera’s finale.
Jennifer Panara as Flora and Jonathan Michie Baron Douphol
Several of this season’s apprentices had solo roles in this performance and all of them performed well. As Flora, Jennifer Panara was a lively, party-loving member of the demi-monde. The Annina, Rebecca Witty, on the other hand was a stolid but faithful servant who would not desert Violetta in her last hours. Tenor Joseph Dennis and bass Rocky Sellars were the obsequious servants of Violetta and Flora. Bass-baritone Andre Courville was a suave Marquis d’Obigny and bass Adam Lau was an effective messenger. This rendition of La Traviata gave a good start to this week’s five opera sequence.
Cast and production information:
Violetta, Brenda Rae; Alfredo Michael, Fabiano; Germont, Roland Wood; Flora, Jennifer Panara; Marquis d'Obigny, André Courville; Gastone, Keith Jameson; Baron Douphol, Jonathan Michie; Doctor Grenvil, Dale Travis; Anina, Rebecca Witty; Conductor, Leo Hussein; Director and Costume Designer, Laurent Pelly; Scenic Design, Chantal Thomas; Lighting design, Duane Schuler; Chorus Master, Susanne Sheston.