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Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
19 Mar 2014
San Diego Opera Presents an All Star Ballo in Maschera
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.
In 1857, the Teatro San Carlo in Naples commissioned Giuseppe Verdi to write an opera. He first intended the work to be his King Lear, but that could not be ready in time for the 1858 Carnival Season. Later, he and his librettist Antonio Somma decided to base an Italian opera on Eugène Scribe’s French libretto for Daniel Auber's Gustave III, ou Le bal masqué. Scribe wrote about the 1792 assassination of King Gustav III of Sweden who was shot while attending a masked ball. Censors in Italy, however, had serious objections. Verdi and Somma made changes, only to be refused a second time. In his libretto, Scribe had kept the historical figures of Gustav and the fortune-teller, but added the character of Amelia and her romance with the king.
On January 14, 1858, several Italians attempted to assassinate Emperor Napoleon III in Paris. After that, censors absolutely forbade the opera to show the murder of a monarch. They told Verdi and Somma to make further changes. Verdi was so angry that he broke his contract. The management of San Carlo sued him and he countersued. After some months, when the legal issues were resolved, Verdi was free to present the libretto and musical outline of the work to the Rome Opera. Since censors demanded further changes, they moved the site of the action to Boston during the British colonial period.
Tenor Piotr Beczala (Gustav III) and mezzo-soprano Stephanie Blythe (Madame Arvidson).
On February 17, 1859, The Teatro Apollo in Rome premiered Un ballo in maschera (A Masked Ball). Not until the twentieth century was the site of the action moved back to Sweden. Now the baritone is called Count Anckarström after the actual killer who was beheaded for his crime.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. She used wonderfully ornate older scenery that formed an excellent background for John Conklin’s soft colored costumes and Gary Marder’s well-planned lighting designs. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden. It’s a long role and there were a few rough-edged tones in his first aria, but after that he gave a radiant performance. His duet with Krassimira Stoyanova, the Amelia, and his final aria were superbly sung. Stoyanova's lustrous voice blended well with Beczala's and she gave an insightful portrayal of his troubled but innocent love interest.
Greek baritone Aris Argiris is new to San Diego. With his performance of Count Anckarström, he established himself as a fine singing actor with a stentorian voice and a commanding presence. His scene with Amelia made sparks fly across the orchestra pit. Stephanie Blythe has an incredible voice with a distinctive sound and a huge range of tone colors, all of which she used as Madame Arvidson, the mysterious fortune-teller.
Act 3 finale
The trouser role of Oscar requires a coloratura soprano to provide a bit of comic relief in the midst of this dark, tragic story. Kathleen Kim’s bright sound and jaunty stance provided just the right touch for the part. Joseph Hu was thoroughly amusing as an infirm High Judge. Dark voiced Kevin Langan and Ashraf Sewailam were impressively menacing as Counts Ribbing and Horn.
Chorus Master Charles F. Prestinari’s singers represented townspeople of various professions and they sang together in solid harmonies. Conductor Massimo Zanetti made a most auspicious debut and proved that the orchestra can be part of the drama. He brought the orchestra up to fortissimo on some occasions when there was no singing and kept it down to a reasonable level when soloists had to be heard above it.
Cast and Production Information:
Count Ribbing, Kevin Langan; Count Horn, Ashraf Sewailam; High Judge and Amelia’s Servant, Joseph Hu; Gustav III, Piotr Beczala; Count Anckarström, Aris Argiris; Amelia Anckarström, Krassimira Stoyanova; Madame Arvidson, Stephanie Blythe; Oscar, Kathleen Kim; Conductor, Massimo Zanetti; Director, Lesley Koenig; Costume Designer, John Conklin; Chorus Master, Charles F. Prestinari; Lighting Design, Gary Marder; Choreographer, Kenneth Von Heidecke