Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
By Tom Service [6 August 2014, The Guardian]
Some aperçus and soupçons based on those of Paul Morley, with whom I was talking recently for a film I’m making for BBC4 on Mozart. As well as Paul’s Mozartian epiphany - thanks to a darkened room and a Google-lottery of K numbers, but you’ll have to wait until the autumn for more on that - Morley suggested something that got me thinking: that today’s era of technological fluidity, flexibility, and almost-instant access to an entire world of musical possibility suits classical musical culture better, potentially, than it does rock and pop.
[The Telegraph, 5 August 2014]
Opera star Christiane Karg took the old saying "the show must go on" to painful extremes recently when she completed a performance with a broken leg.
By Mark Lowry [TheaterJones, 20 June 2014]
The Dallas Opera's previously announced world premiere of Great Scott in 2015 will now be co-produced with the recently saved San Diego Opera.
[More . . . .]
New York, NY (June 17, 2014 ) — After an outpouring of concern that its plans to transmit John Adams’s opera The Death of Klinghoffer might be used to fan global anti-Semitism, the Metropolitan Opera announced the decision today to cancel its Live in HD transmission, scheduled for November 15, 2014. The opera, which premiered in 1991, is about the 1985 hijacking of the Achille Lauro cruise ship and the murder of one of its Jewish passengers, Leon Klinghoffer, at the hands of Palestinian terrorists.
“I’m convinced that the opera is not anti-Semitic,” said the Met’s General Manager, Peter Gelb. “But I’ve also become convinced that there is genuine concern in the international Jewish community that the live transmission of The Death of Klinghoffer would be inappropriate at this time of rising anti-Semitism, particularly in Europe.” The final decision was made after a series of discussions between Mr. Gelb and Abraham Foxman, National Director of the Anti-Defamation League, representing the wishes of the Klinghoffer daughters.
In recent seasons, the Metropolitan Opera has championed contemporary operatic masterpieces as part of its ongoing efforts to keep opera artistically current. Previously, the Met has presented John Adams’s other two major operas, Doctor Atomic (in 2008) and Nixon in China (in 2011). “John Adams is one of America’s greatest composers and The Death of Klinghoffer is one of his greatest works,” said Gelb. The Met will go forward with its stage presentation of The Death of Klinghoffer in its scheduled run of eight performances from October 20 to November 15. In deference to the daughters of Leon and Marilyn Klinghoffer, the Met has agreed to include a message from them both in the Met’s Playbill and on its website.
In recent years, The Death of Klinghoffer has been presented without incident at The Juilliard School (2009), the Opera Theatre of St. Louis (2011), and as recently as this March in Long Beach, California. The Met’s new production was first seen in London at the English National Opera in 2012, and received widespread critical acclaim.
By Michael Cooper [NY Times, 11 June 2014]
Nothing about Wagner’s epic “Ring” cycle is small in scale, but when a would-be impresario came up with the idea of staging it in West Hartford, Conn., he envisioned replacing its massive orchestral forces with the digital sounds of sampled instruments.
By John Suchet [Classic FM, 11 June 2014]
I love opera, but sometimes even the thought of going to see it is nerve-wracking. Are the tickets going to bankrupt me? Do I have to dress up? And how much will I actually see (if I am up in the gods will the action be too far away and if I use those little binoculars, will I be able to read the surtitles)? In short: is it worth the hassle?
In 2014, American baritone Thomas Hampson celebrates Richard Strauss’ 150th anniversary.
By James Jorden [NY Observer, 10 June 2014]
At Carnegie Hall last Thursday, a capacity crowd witnessed what might be the final official act of a monarch who has reigned for more than four decades.
[Opera News, June 2014]
F. Paul Driscoll talks to the cast and creative team of "27" — a new opera by Ricky Ian Gordon and Royce Vavrek about the singular world of Gertrude Stein and Alice B. Toklas. The curtain goes up at Opera Theatre of Saint Louis on June 14.
Mieczyslaw Weinberg’s The Passenger has been called by the Independent (U.K.) “the most significant opera composed in the Russian language since Prokofiev’s War and Peace.” With an unflinching eye, this late 20th-century masterwork focuses on a former SS prison camp overseer on board an ocean liner who fears her secret past is about to be revealed.
[BBC News, 6 June 2014]
The boss of New York's Metropolitan Opera says it will "face a bankruptcy situation in two or three years" if it does not cut its wages bill.