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
By Robert Hugill [Planet Hugill]
Joseph Haydn’s last oratorio Die Jahreszeiten (The Seasons) was conductor Sascha Goetzel's choice for the first oratorio performance by his Borusan Istanbul Phiharmonic Orchestra in the Istanbul Lütfi Kirdar ICEC on Thursday 12 March 2015. Goetzel and the orchestra were joined by soloists Miah Persson, Ian Bostridge and Duncan Rock, and the Salzburg Bach Choir.
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