Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
I arrive at the Jerwood Space, where rehearsals are underway for Garsington Opera’s forthcoming production of Idomeneo, to find that the afternoon rehearsal has finished a little early.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Tickets on Sale NOW for June 10 & 12 Performances at UNLV’s Performing Arts Center Box Office
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.
A Double-Bill of Divine Comedies
Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.
With its merry-go-round exchange of deluded and bewitched lovers, an orphan-turned-princess, a usurped prince, a jewel and a flower with magical properties, a march to the scaffold and a meddling ‘mistress-of-ceremonies’ who encourages the young lovers to disguise and deceive, William Makepeace Thackeray’s The Rose and the Ring has all the ingredients of an opera buffa.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Madness descends upon Welsh National Opera for its autumn 2015 season, with three new productions that will explore human turmoil through some of the finest musical expressions of madness and the human condition.
The season launches WNO’s 70th birthday year which will see the company stage seven new productions over the course of the year — including two world premières — and a classic revival.
This month, Opera Rara embark on back-to-back recording projects — Donizetti’s Le duc d’Albe and Gounod’s La Colombe — with their Artistic Director Sir Mark Elder conducting the Hallé. Following last year’s release of Donizetti’s Rita which marked the company’s 50th complete opera recording to date, this is Opera Rara’s second collaboration with the Hallé. La Colombe will be released in November while Le duc d’Albe will be available next spring.
By Sean Martinfield [Huffington Post, 2 June 2015]
Mezzo-soprano Isabel Leonard appears with conductor Charles Dutoit and the San Francisco Symphony this week in Ravel's one-act comic opera, L'Heure espagnole. (The Spanish Hour). The program opens with Ravel's brief "morning song," Alborado del gracioso and concludes with Manuel de Falla's Nights in the Gardens of Spain featuring pianist Javier Perianes. The opera (not quite an hour) also features tenors Jean Paul Fouchécourt and John Mark Ainsley, along with baritones Jean-Luc Ballestra and David Wilson-Johnson. Isabel sings the role of Concepion, a clockmaker's wife with way-too-much time on her hands. And with three potential lovers in the shop - two of them hidden in tall standing clocks - each counting the minutes until her buffoon of a husband returns, Isabel says, "She's hysterical! A woman on the edge of a nervous breakdown."
By K. Young [Classicalite, 31 May 2015]
This summer, On Site Opera (OSO) will present a new production that personifies the company's mission to produce operas in non-traditional locations ideally suited to the stories they tell. This June (9-13), OSO will stage a site-specific production of The Barber of Seville at the opulent Fabbri Mansion (House of the Redeemer) on New York City's Upper East Side.
By Rupert Christiansen [The Telegraph, 29 May 2015]
La Bohème, Tosca, Madama Butterfly - and oh yes, “the one with ‘Nessun dorma’ in it”, Turandot - make Puccini the world’s most popular opera composer, and one who earns ever more admiration as a musical dramatist and expressive melodist. Is there still some residual snobbery about his genius? Thirty years ago, I remember being shocked to hear William Walton confess in a television interview that in old age, he had come to love Puccini’s music even more than Verdi’s. Now I begin to sympathise.
Four stars of the Metropolitan Opera will headline the Opera Las Vegas fully-staged, live orchestra production of Puccini’s tragic love story Madama Butterfly at Judy Bayley Theatre on the UNLV campus on June 12th and 14th.
By Laura Battle [FT, 8 May 2015]
Given the enormous enthusiasm for countertenors and, increasingly, male sopranos that has flourished in recent decades, it is surprising how little attention has been paid to the female vocal range. Of course, the trend has been largely dictated by the range of available repertoire. Opera companies and period ensembles, keen to emulate the sound of 17th- and 18th-century castrati, are now spoilt for choice of high male voices. Over the same period of time, true contraltos, considered by many to mark the lower limits of the female vocal range, appear to have all but disappeared.
By Martin Bernheimer [FT, 4 May 2015]
The Met season is gasping to a close, but the final major gasp — a revival of The Rake’s Progress — offers some degree of exhilaration.
Only “some degree”? Blame the qualification on the size of the house. Stravinsky’s quixotic faux-baroque masterpiece had its premiere, back in 1951, at La Fenice in Venice (with none less than Elisabeth Schwarzkopf heading the cast). At the time, the capacity of that theatre was 840. The all-too-mighty Met accommodates 4,000. Enough said, and, alas, enough badly heard.
By David Cheal [FT, 24 April 2015]
Steve Reich and Beryl Korot tackle hubris with 2002 ‘video opera’ about science and technology
By Manuel Brug [Die Welt]
Sie entäußert sich auf der Bühne, gibt perfekt eine vollkommen gestörte Frau, die moderne Mörderin: Die Schwedin Nina Stemme ist die ideale Heroine. Zu Hause mag sie das komplette Gegenteil.
By Benedikt von Bernstorff [Der Tagesspiegel]
Ernst Krenek hat seine Kammeroper „Tarquin“ 1940 im US-Exil geschrieben, nach der Uraufführung 1950 präsentiert die Werkstatt der Staatsoper im Schillertheater erst die dritte Produktion des Werks. Dabei beweist Krenek, dass sich mit der Zwölftontechnik der Schönberg-Schule effektvolles Musiktheater schreiben lässt. Die Partitur ist für zwei Klaviere, Geige, Klarinette, Trompete und Schlagzeug instrumentiert, die musikalische Dramaturgie suggestiv, tonale Anklänge und ein leitmotivisch eingesetztes Thema mit Sehnsuchtsintervall und Rosenkavalier-Appeal erleichtern den Zugang.
By Shirley Apthorp [FT, 21 April 2015]
Holocaust references are a delicate matter on any stage, but a defensible choice in a production of Arnold Schoenberg’s monolithic Moses und Aron. Here, the mountain that Moses descends is a vast pile of Jewish corpses.
By Micaela [Likely Impossibilities, 19 April 2015]
Men are sensitive and easily injured souls, as ten minutes in any internet comment section would tell you. Such is also the gist of Mascagni’s Cavalleria rusticana and Leoncavallo’s Pagliacci, the august double bill of verismo which presents us twice with the even more august situation of baritones interfering with soprano-tenor relationships and it all getting very bloody. In the Met's new production, Fabio Luisi makes these high octane scores sound quite classy, but otherwise the two diverge: a dreary, clunky Cav is followed by a fun and punchy Pag. Oh, one other thing in common: for better and for worse, Marcelo Alvarez is the tenor. I shouldn't be putting that last, which might give you an idea of what is going on here.
By Phillip Larrimore [14 April 2015, The Charlotte Observer]
Opera Carolina’s production of “Lucia di Lammermoor” at Belk Theater is elegantly set, handsomely lit, fleetly conducted, and sung with high virtuosity, especially among the principals.
By Rebecca Lentjes [bachtrack, 5 April 2015]
“The rhythm of words takes away from my sense of rhythm,” Meredith Monk explained after a riveting performance of her piece Things Heaven and Hell by the Young People’s Chorus of New York City. The third part of Ms. Monk’s 1992 work Three Heavens and Hells, this piece was one of only a handful to incorporate real words in the entirety of the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall last weekend.
By John R Severn [Music & Letters, February 2015]
This article explores how Otto Nicolai and Salomon Hermann von Mosenthal’s Die lustigen Weiber von Windsor (Berlin, 1849) might contribute to an alternative reception history of Shakespeare’s The Merry Wives of Windsor, in which the play’s unusual features—in particular the central role it gives to female agency, family life, and the natural world—are positively valued.
By Rebecca Lentjes [Bachtrack, 28 March 2015]
John Adams has been known to draw inspiration from American writers—Walt Whitman, E. Annie Proulx—for his works, but his most recent composition, Scheherazade.2, is presented as a musical sequel of sorts to the sprawling Middle Eastern collection One Thousand and One Nights. Mr Adams explained at the piece’s world première on Thursday