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Falstaff and Die Meistersinger are among the pinnacles if not the pinnacles of nineteenth century opera. Both operas are atypical of the composer and both operas are based on a Shakespeare play.
To borrow from the great Bard himself: “the course of true love never did run smooth.”
Florencia in el Amazonas was the first Spanish-language opera to be commissioned by major United States opera houses.
Gaetano Donizetti wrote a comedy or dramma giocoso called Le convenienze ed inconvenienze teatrali (The Conventions and Inconveniences of the Theater), which is also known by the shorter title, Viva La Mamma!.
Vincenzo Bellini composed Norma to a libretto that Felice Romani had fashioned after Alexandre Soumet’s French play, Norma, ossia L'infanticidio (Norma, or The Infanticide).
In order to mount a successful production of Alban Berg’s opera Wozzeck, first performed in 1925, the dramatic intensity and lyrical beauty of the score must become the focal point for participants.
During this exploration of music from the Austro-German Baroque, Florilegium
were joined by the baritone Roderick Williams in a programme of music which
placed the music and career of J.S. Bach in the context of three older
contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and
Heinrich Biber (1644-1704).
Charismatic charm, vivacious insouciance, fervent passion, dejected
self-pity, blazing anger and stoic selflessness: Zazà — a chanteuse
raised from the backstreets to the bright lights — is a walking compendium of
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
11 Jun 2014
Rising Stars at Lyric Opera of Chicago
In its annual concert devoted to performances by current members of the Patrick G. and Shirley W. Ryan Opera Center, Lyric Opera of Chicago showcased a roster of talented singers who will doubtless add greatly to operatic and concert stages of the immediate future.
All of the singers performed their
chosen pieces and ensembles admirably, indeed each selection as sung was
memorable for the degree of lyrical and dramatic commitment transmitted. As a
supplement to the vocal offerings Maureen Zoltek, the Ryan Opera Center’s new
pianist, played the first movement of Ravel’s Piano Concerto in G major. The
conductor for the entire program was Kelly Kuo.
The first half of the program spanned operatic selections, in four
languages, ranging from the eighteenth through the twentieth century. The
second half of the evening was dominated by American and French selections
after the performance of the movement from the Ravel Concerto. Perhaps most
revealing from this program was the opportunity to hear each of the talented
singers in a variety of repertoire, with performances that emphasized an
encouraging versatility. As an example of such range, Tracy Cantin sang, in the
first part of the concert, Cressida’s recitative and aria, “How can I
At the haunted end of the day,” from Sir William Walton’s
Troilus and Cressida. Ms. Cantin’s involvement in this brief
evocation of the title character was riveting. Her searing top notes
emphasizing “betrayed” and “a phantom” led to the dramatic concluding
declaration of “my conqueror.” In the second part of the program Cantin was
equally impressive in a very different role, the concluding scene of Jules
Massenet’s Thaïs. Here as she was supported by the Athanaël of
baritone Anthony Clark Evans the vision of Thaïs came alive and her
transformation from courtesan to saint was believable. Cantin produced soft,
pure pitches in contrast to the appropriately urgent, sincere appeals by Evans.
The final “Je vois Dieu” [“I see God”] communicated the apotheosis of a
blessed figure. A comparable set of performances was offered by bass-baritone
Richard Ollarsaba. In his rendering of Figaro’s Act IV aria, “Tutto è
Aprite un po quegl’occhi” [“All is prepared
eyes a little”], Ollarsaba demonstrated excellent sense of color and the
ability to use his resonant sound as a means to suggesting varying emotional
states. Even within the single word “Ingrata” the expressive range that
Ollarsaba attached to individual vowels communicated both distress felt by the
character portrayed and a growing sense of irritation. Ollarsaba’s later
contribution was also by Mozart, this time in the trio ensemble, “Soave sia
il vento,” from Act I of Così fan tutte, sung together with soprano
Laura Wilde and mezzo soprano Julie Anne Miller. Each of the three performers
retained a distinct vocal personality while also blending effectively at
requisite moments. As Don Alfonso, Ollarsaba’s upper register and fluid
legato connecting multiple pitches outlined an impressive backdrop for
the myriad emotions expressed, just as the women’s voices rose and fell in
touching pathos. In their solo pieces during the concert both Miller and Wilde
also gave exciting performances. Ms. Miller showed a masterful sense of
Handelian style in the aria of the title character, “Dopo notte,” [“After
night”] from Act III of Ariodante. While communicating the sense of
the text, Miller took the word “splende” [“radiantly”] with appropriate
forte emphasis. Especially noteworthy are Miller’s breath control
and Italian diction, both serving her well in the embellishments she used in
the repeat of the A section of the aria. In the second part of the program Ms.
Wilde sang Marguerite’s aria, “Oh Dieu! Que de bijoux!,” [“O God! What
jewels!”] from Gounod’s Faust; she held a mirror in hand and acted
through her character’s delight with the jewel box as she sang this famous
showpiece aria. In decorating the line of this piece Wilde was careful in
observing textual import, so that her decorations on the “princesse,” whom
she fantasized at becoming, were especially well chosen. Her final notes showed
an emotional outburst that spoke more of the character’s naïveté than of
her entrancement with the jewels produced by Mephistopheles.
Among other singers performing in both solo and shared pieces J’nai
Bridges gave a sublime account of Sapho’s aria, “Où suis je
Ô ma lyre
immortelle” [“Where am I
o my immortal lyre”] from Gounod’s opera
Sapho. Bridges led the listeners into Sapho’s emotional world, the
character’s distress at the end of her life being expressed in contrasting
lines with “nuit eternal” [“eternal night”] and “douleur”
[“pain”], both descending to full deep notes, and her wounded “cor”
[“heart”] showing the singer’s glistening upper register. As Sapho’s
inevitable act of suicide approached, Bridges’s voice rose at the
contemplation “sous les andes” [“beneath the waves”]; she invoked her
watery death with chilling, individual low pitches on “dans las mer” [“in
the sea”] before appealing to the ocean to indeed open itself up [“ouvre
toi”] with a final, shockingly dramatic top note on the repetition of “dans
la mer.” A very different sort of character emerged in her duet from
Porgy and Bess, shared with the Porgy of baritone Will Liverman. Mr.
Liverman has an excellent command of legato which he sustained
throughout, just as Bridges declared “I’s your woman now.” Both
singers’ voices suggested the mutually enveloping emotions of their
characters as the line “We is one now” remained the predominant theme
communicated. In his solo contribution, “Batter my heart” from John
Adams’s Doctor Atomic, Liverman showed very effectively the tension
felt by Oppenheimer as he struggled with the responsibilities of his scientific
research and its effects on humanity. Yet another couple deserves mention for
their vocal and dramatic commitment. Soprano Emily Birsan and tenor John Irvin
sang a delightful account of “Chiedi all’aura lusinghiera” from Act I of
Donizetti’s L’elisir d’amore. Both artists demonstrated their
ease and technical skill at bel canto singing, while each was
especially sensitive to weaving a lyrical statement that suggested a growing
sense of attraction and an independent resistance to the same. As a fitting
conclusion to the evening the latter two performers were joined by Miller,
Evans, and Ollarsaba, as well as the full ensemble, in “The promise of
living” from Aaron Copland’s The Tender Land.