A Romeo Castellucci production is always news, it is even bigger news just now in Salzburg where Lithuanian soprano Asmik Grigorian has made her debut as the fifteen year-old Salome. One of the joys of writing regularly — sometimes, just sometimes, I think too regularly — about performance has been the transformation, both conscious and unconscious, of my scholarship. I am not sure I could find much of a connection between the two works on offer here. The mood in the city is certainly soporific at the moment, as the blistering summer heat takes its toll and the thermometer shows no signs of falling.
It must not be born! The words "Te saxa Loquuntur" The stones are speaking to you are projected onto the stage. Salzburg regulars will recognize this as a reference to the rock foundations on which part of the city is built, and the traditions of excellence the Festival represents. In this opera, the characters talk at cross-purposes, hearing without understanding. The phrase suggests that what might not be explicitly spoken might have much to reveal. In this, her Proms debut, Anna Prohaska offered something akin to a cantata of two queens, complementary and contrasted: Dido and Cleopatra.
Frank Castorf might have been born to direct From the House of the Dead. Should you not like eighteenth-century opera very much, if at all, and should you have no or little interest in Haydn either, this may have been the production for you. Friends tell me that would have made little difference, yet I cannot know for certain.
From heroic knights to adolescent youths, women don the armour and trousers, and no-one bats an eyelid. The mix of vocal music, arrangements and multiple pieces per half felt like a flashback to the early days of the Proms, offering eclectic mixes of vocal and instrumental soloists. The nickname "Symphony of a Thousand" wasn't Mahler's choice but the invention of promoters eager to market it as a showpiece.
The artistic director of Longborough Festival Opera has overseen a production which brings together professional soloists, students from Trinity Laban Conservatoire of Music and Dance, and a cast of more than 80 south-east London adults and children for this, the 12th, annual Blackheath Halls Community Opera. The production is vintage Audi - stylized, austere, but solidly thought-through. Let me get right to the point: This is the Rusalka I have been waiting for all my life.
Over the past few years Mme. Mitchell has staged quite a few household tragedies at the Aix Festival, mostly at dinner tables, though some on doorsteps. The Princeton Festival brings a run of three high-quality opera performances to town each summer, alternating between a modern opera and a traditional warhorse. Many of the ingredients for a memorable concert were there, or so they initially seemed to be.
What might have been? What might have been if Stefan Herheim had not changed his Konzept so late in the day? I had actually forgotten about that until reminded during the interval, yet had already began to wonder whether the production had been, especially for him, unusually rushed. There is something very Danish about this Don Giovanni. A blazing performance, formidably dramatic, executed with stunning assurance.
Salonen has made his mark on the Philharmonia through in-depth explorations of the 20th century repertoire he loves so well. It caused a sensation at its unveiling at the Aix-en-Provence Festival. Alone, tranquil and serene. In that sense, so did I. The Grange Festival had assembled a cast to grace any stage, a cast that more than lived up to expectations on this, the first night. Opera seems to travel far from the opera house these days. Or something.
Most of all we marvel at genius of the composer and admire the canny story telling of the Zambello production. Fast forward six months, and what a world of difference! The shepherds and nymphs are at play! Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera. But even more beautiful is freedom! Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of in the Teatro Giustiniani di S.
It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. He dispatches both her and her lover Aegisthus. What a treat the London Music Conservatoires serve up for opera-goers each season. Absence makes the heart grow fonder; or does it? Or rather, what could such a question even mean? Standing in shadow, encircled by the five players of the viol consort Fretwork, as the summer storm raged outside Milton Court Concert Hall countertenor Iestyn Davies offered mesmeric reassurance to the capacity audience during this intriguing meeting of the baroque and the modern.
As a whole, this concert proved a curious affair. The idea of a night off from the symphonic Beethoven to turn to chamber works was, in principle, a good one, but the sole Gerald Barry piece here seemed oddly out of place — and not in a productive, provocative way. Even the Beethoven pieces did not really seem to fit together especially well. A lovely performance of the op. Seven, they are Seven , op. This concert might have been re-titled Remembrance of Musical Times Past: the time, that is, when French song, nurtured in the Proustian Parisian salons, began to gain a foothold in public concert halls.
Then that red plush. Always in demand on French and international stages, the French soprano Sabine Devieihle is, fortunately, becoming an increasingly frequent visitor to these shores. This lunchtime recital, reflecting the meetings of music and minds which took place at Parisian salon of the nineteenth-century mezzo-soprano Pauline Viardot , was her solo debut at the venue. As a figure in the history of 20th century art, few deserve to be closer to center stage than Ida Rubenbstein. At his best, Matthias Goerne does serious ernst at least as well as anyone else.
Is that not, after all, what clowns are about? Yet, individual taste aside, whom would one choose before him to sing Brahms, let alone the Four Serious Songs? Baritone Matthias Goerne can spin an extended vocal line and float a lyrical pianissimo with an unrivalled beauty that astonishes no matter how many times one hears and admires the evenness of line, the controlled legato, the tenderness of tone.
Madness - or perhaps, more widely, insanity - in opera goes back centuries. Excellent programming: worthy of Boulez, if hardly for the literal minded. So … what are they doing together then? I rest my case! On a recent weekend evening the performers in the current roster of the Patrick G. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. It was the first time in two decades that this company had staged a Ring opera.
Well, it was Friday 13th. Kennedy, who had been assassinated six years earlier. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. Yes, I know: I should hang my head in Lenten shame. Four singers were awarded prizes at the inaugural Glyndebourne Opera Cup, which reached its closing stage at Glyndebourne on 24th March.
The Glyndebourne Opera Cup focuses on a different single composer or strand of the repertoire each time it is held. In the featured composer was Mozart and the Orchestra of the Age of Enlightenment accompanied the ten finalists. Unfortunately his current Lyon Don Carlos enjoys no such equivalent poetic intuition.
Long Beach Opera often takes willing audiences on an unexpected journey and such is undeniably the case with its fascinating traversal of The Invention of Morel. Verdi's La traviata is one of those opera which every opera company needs to have in its repertoire, and productions need to balance intelligent exploration of the issues raised by the work with the need to reach as wide an audience as possible with an opera which is likely to attract audience members who are not regular opera-goers. The title was given it by his publishers Haslingers, after his death, combining settings of two very different poets, Ludwig Rellstab and Heinrich Heine.
Wigmore Hall audiences have heard lots of good Schwanengesangs, including Boesch and Martineau performances in the past, but this was something special. French grand opera and small opera companies are an unlikely combination. The big musical set pieces in Turandot require voice, voice, and more voice, and San Diego Opera has gifted us with a world-class cast of singing actors.
As such, it is quite a success. Wigmore Hall was transformed into a musical menagerie earlier this week, when bass-baritone Ashley Riches, a Radio 3 New Generation Artist, and pianist Joseph Middleton took us on a pan-European lunchtime stroll through a gallery of birds and beasts, blooms and bugs. Nationality is a complicated thing at the best of times. At the worst of times: well, none of us needs reminding about that. Almost whatever you want it to mean, or not to mean. The relationship between music and money is long-standing, complex and inextricable.
In the Baroque era it was symbiotically advantageous. Carmen is dead. Long live Carmen. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories. At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series.
The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here. It is, of course, quite an achievement in itself for a symphony orchestra to perform Das Rheingold or indeed any of the Ring dramas.
This was the infamous production that was booed to extinction at Covent Garden. In the world of opera, the rot set in innocently, gradually. The Tucson Desert Song Festival consists of three weekends of vocal music in orchestral, chamber, choral, and solo formats along with related lectures and master classes. Both are masterpieces, but they are very different kinds of operas and experienced quite asymmetric performance histories. Opera transcends time and place. One recent survey suggested that in , the average age of a classical concertgoer was 36, whereas now it is plus.
As he challenges the young lover who has betrayed him and excoriates Society for its wrong and unjust laws, Wilde also subjects his own aesthetic ethos to some hard questioning, re-evaluating a life lived in avowal of the amorality of luxury and beauty. Stendhal complained that in Trieste nothing had been left to the imagination. As well, in Lyon nothing, absolutely nothing was left to the imagination.
The Barbican performance last night was no ordinary concert. This performance was extraordinary because it carried a message. But also, because some of the cast seemed rather out of sorts. The Bergen Philharmonic Orchestra was founded in , just a few years after the Leipzig Gewandhaus Orchestra : Scandinavian musical culture has very strong roots, and is thriving still. Tucked away in the far north, Bergen may be a hidden treasure, but, as this performance proved, it's world class. The journey is always the same, and never the same.
San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster. It felt rather decadent to be sitting in an opera house at 12pm. In , concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. Not many maybe any of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around.
But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions. The last of the operas which Rossini composed for Italian theatres between , Semiramide has had only one outing at the Royal Opera House since , and that was a concert version in Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall.
The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival. This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary almost to the day since Singcircle first performed STIMMUNG at the Round House , and their final public performance of the piece.
Andrea as some of us may have remembered it from time gone by. Make him think the evil, make him think it for himself, and you are released from weak specifications. Austrian singer Elisabeth Kulman has had an interesting career trajectory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in , following an accident while rehearsing Tristan.
But, the drama is a little less hyperactive, the characterisation less larger-than-life. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter. Whatever next! Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. In composer Patrick Morganelli wrote a chamber opera entitled Hercules vs.
Vampires for Opera Theater Oregon. A little wind and rain are nothing to worry about! Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. The Third Coming! It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's year relationship with Salonen.
It began life as a propaganda piece, Albion and Albanius, in , during the reign of Charles II, but did not appear on stage as King Arthur until when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly. On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.
And, it certainly does look good. As a prelude to the season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season. POP audiences enjoy casual seating with wine, water, and finger foods at each table. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats. An astonishingly theatrical touch, but absolutely right.
Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up. Three years into their MOZART project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries. Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia and by extension, the world with a crackling and melodious new stage piece, Elizabeth Cree.
Mega famous L. But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed. It is a painful exposure of the fracture which separates the Sovereign King from the human mortal. This Prom was all about places: geographical, physical, pictorial, poetic, psychological.
The rare and somewhat interesting Rossini! Torvaldo e Dorliska comes just after Elisabetta, Regina di Ingleterra the first of his nineteen operas for Naples — a huge success, and just before Il barbiere di Siviglia in Rome — a failure. South African actor, artist, multimedia artist, film and theater, now opera director William Kentridge has taken the world by storm over the past few years. And now Wozzeck at the Salzburg Festival.
From time to time felicitous circumstances create impromptu masterpieces, like the Salzburg Whitsun Festival production of Handel's Ariodante that has continued just now into the summer festival. It is hard to believe that an opera by Donizetti is receiving its American premiere at the Glimmerglass Festival, but such is the case with The Siege of Calais. Director Molly Smith knew just how to best succeed at staging the evergreen classic Oklahoma!
Impeccable casting — see photos. German soprano Christiane Karg invited us to accompany her on a journey during this lunchtime chamber music Prom at Cadogan Hall as she followed the voyages of French composers in Europe and beyond, and their return home. That of Rossini in French and that of Lord Byron in English, Russian, Italian and Spanish , the battles of both Negroponte and of Missolonghi re-enacted amidst massive piles of plastic water bottles thousands of them that collapsed onto the heroine at Mahomet II's destruction of Corinth.
John Butt and the Dunedin Consort's recording of Bach's St John Passion was ground-breaking for it putting the passion into the context of a reconstruction of the original Lutheran Vespers service. At the start of the 20th century, French composers seemed to be conducting a cultural love affair with Spain, an affair initiated by the Universal Exposition of where the twenty-five-year old Debussy and the fourteen-year-old Ravel had the opportunity to hear new sounds from East Asia, such as the Javanese gamelan, alongside gypsy flamenco from Granada.
Hibiki: sound, noise, echo, reverberation, harmony. And, while the trademark doorstop Proms opera programme duly arrived containing full text and translation, one should celebrate the fact that - finally - we had surtitles on several screens. If there is any practitioner currently singing the punishing title role of Lucia di Lammermoor better than Brenda Rae, I am hard-pressed to name her.
Big birds are looming large at Glyndebourne this year. As an African, Farah expected a different narrative, demonstrating that our reception of art depends so much on our assumptions and preconceptions. The scouts for the festival made the smart decision to let McVicar adapt his Covent Garden staging to the unique locale of Castle Olavinlinna.
The excellent Finnish soloists and glorious choir unflinchingly offered this opera of vocal blood and guts. The bel canto repertoire requires stylish singing, with beautiful tone and elegant phrasing. Strength must be allied with grace in order to coast the vocal peaks with unflawed legato; flexibility blended with accuracy ensures the most bravura passages are negotiated with apparent ease. That, I have no doubt, is unquestionably a good thing. So, perhaps the tenor voice possesses the requisite combination of lightness and yearning to convey this trajectory from guileless innocence to disenchantment and dejection.
For my first trip to Finland, I flew from Helsinki to the east, close to the border of Russia near St. In this enchanting locale in the midst of peaceful nature, the sky at dusk after the mesmerising sunset fades away is worth the trip alone! But were we enlightened? Of all the places, I did not expect a sublime Tristan und Isolde in a repurposed barn in the Cotswolds. Any opera house would envy the riveting chemistry between Peter Wedd and Lee Bisset in this intimate, seat setting.
Epic drama in minimalistic elegance: who needs a big budget when you have talent and drama this passionate? For almost thirty years, summer at the Concertgebouw has been synonymous with Robeco SummerNights. This popular series expands the classical concert formula with pop, film music, jazz and more, served straight up or mixed together.
This was mainly due to succinct musical direction and rigorous dramatic direction.
It also meant that the proximity of the action was a fascinating treat, and by the artists being young, and easy on the eye. There is a host of fine operas out there languishing more or less unperformed in some cases, quite unperformed. Feel free to remove inverted commas, should that be your thing. An incredible feat! The Aix Festival opened five operas, all new productions, on five consecutive evenings.
Much of the music is stirring, including some among the most profoundly moving passages in all opera. The revolutionary political idealism that underlies the opera is inspiring, particularly to those in German-speaking lands, where it inspires reverence. Back to the operatic days when the book took top billing and the composer's name was in the fine print. Metzmacher gets Schreker - revealing his modernity and originality. There are many kinds of "modern". Schreker was a highly original composer, very much a man attuned to the creative ferment of his time, fuelled as it was by new ideas and social change.
For the dull taupe curtains which frame the sides and room of the set drape their traditional sprinkling of willow and bamboo like a bleached Hokusai wave. One might expect a satire on sexual stereotypes penned in to feel a bit dated in Opera Theatre of Saint Louis knew to trust the surefire potential of Madame Butterfly, and pretty much stayed out of its way.
If opera is to remain a viable, accessible 21st century art form, it will be largely owing to the commitment of visionary companies like Opera Theatre of Saint Louis. Martin Duncan's production of Rossini's Il turco in Italia debuted in , only the second production to be performed in Garsington Opera's then new home at Wormsley. That Opera Theatre of Saint Louis fearlessly embraces the cutting edge is once again evidenced by their compelling American premiere of The Trial. A most convincing Rigoletto, Chioldi was a man in psychological pain from the begining of the opera.
His fear and his vulnerability to the whims of the nobility were evident in every meaty, well-colored phrase he sang. Thumbprint is the story of the young, innocent and illiterate Mukhtar Mai who was assaulted by a group of powerful men. Following the attack, Mukhtar, having supposedly been disgraced, was expected to commit suicide. Instead, she amazed everyone who knew her by going to the police and calling for the arrest of her attackers. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium.
Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground. This Marseille edition achieved an artistic stature rarely found hereabouts, or anywhere. This was operatic activism, pure and simple. Dressed in metallic, shimmering black she moved rather stately across the stage to her piano - but there was nothing stately about what unfolded during the next 90 minutes.
How Music Developed, by W. J. Henderson
A summit reached at the end of a long journey: Florian Boesch and Malcolm Martineau at the Wigmore Hall, as the two-year Complete Schubert Song series draws to a close. Unmistakably a high point in the whole traverse. A well-planned programme of much-loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish. The Grange Festival, artistic director Michael Chance, has opened at Northington Grange giving everyone a chance to see what changes have arisen from this change of festival at the old location.
For our first visit we caught the opening night of Annabel Arden's new production of Bizet's Carmen on Sunday 11 June Thankfully, the opera comique version of the opera was used, with dialogue by Meredith Oakes. San Francisco Opera revved up its production of Don Giovanni with a new directorial team and a new conductor.
And a blue-chip cast. A body lies in half-shadow, surrounded by an expectant gathering. Our Father is intoned in Gregorian chant. The solo voices bloom into a chorus with a joyful flourish of brass. Every once in a while a warhorse redefines itself. Yet he considered himself, above all, a composer of opera. Notably, all were also marking their own role debuts, as well as this production being the first Massenet opera staged by organization in its year history.
The production debuted in Magdeburg last year and now Welsh National Opera is presenting the production as part of its Summer season, the company's first Der Rosenkavalier since when the cast included Rita Cullis as the Marschallin and Amanda Roocroft making her role debut as Sophie.
To open the season at Garsington Opera, director Annilese Miskimmon and designer Nicky Shaw offer a visually beautifully new production of Handel's Semele in which comic ribaldry and celestial feuding converge and are transfigured into star-dust. In their vocal and instrumental innovations, he discerned a similar revolution in music.
In , director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded opera. His Floria was a dove among hawks. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth live sheep and a simulacra of a bear roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs.
- Join Kobo & start eReading today.
- Shopping Cart.
- Viviendo un sueño (Jazmín) (Spanish Edition);
- How Music Developed, by W. J. Henderson?
We want to get out of here! It is sung by opera singers to live music. Its revival at Dutch National Opera, where it premiered in , is hugely welcome. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera. From the singing I heard, they definitely have something of which to be proud. The Festspielhaus in Baden-Baden pretty much programs only big stars.
A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn. Mahler as dramatist! Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic.
This was no ordinary concert. Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo. It scratches, twitches and yelps. Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values. The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing.
He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot. American soprano Camilla Tilling starred in the solo part. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony.
Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show.
Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area. Most recently a huge fire in provoked a major, five-year renovation of the hall and stage that reopened in With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. The entire twentieth century saw but three 3 performances in this European capital.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd or Carmen who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone. American composer John Adams turns 70 this year.
That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer. In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein my first time! I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year. There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci b.
Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules. And his third staging of Falstaff following Salzburg in and Florence in The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience. Even when it comes down to last minute replacements, the casting is topnotch.
Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us.
Two years ago, the company embarked upon an epic, year exploration of the music written by Mozart and his contemporaries exactly years previously. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.
But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent. For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle.
In uomini! Orfeo ed Euridice. Ruhe sanft : Zaide ; Le nozze di Figaro. Eccomi in lieta vesta Oh! Le nozze di Figaro. Porgi amor ; E Susanna non vien! Elle a fui, la tourterelle! Ah no, mio bene! Pace, pace, mio Dio : Leonora ; Don Carlo. De cet affreux combat ; Pleurez mes yeux! Sola, perduta, abbandonata : Manon ; Tosca. Vissi d'arte : Flora Tosca ; Madama Butterfly. Ozean, du Ungeheuer! Piano concerto no. Resound Beethoven. Summary Dodici ariette con accompagnamento di forte piano, op.
Aure amiche, ah! No flower that blows ; The Spanish rivals. Still the lark finds repose ; The Duenna. Symphonie No. Loondon, England : Decca, [? Ticho Parly sings Wagner . Summary Lohengrin. Inbrunst im Herzen Parsifal. Fidelio, op. Description Music recording — 1 audio disc 76 min. Sound: digital; optical; mono. Digital: audio file; CD audio. Bach Violin sonata no. Franko Violin sonata in D minor, op. Description Music recording — 1 audio disc 72 min.
Polly Stewart, WoO no. Beethoven 3. Austria : Edition Taschenphilharmonie,  Description Music recording — 1 online resource 1 sound file Sound: digital. The best ever Sydney Opera House collection. Great choral masterpieces . Summary Messiah. Bach Requiem. Polovtsian dance no. The classic Concert magic : the first motion picture concert . Video: NTSC. Digital: video file; DVD video; region 0. Summary Concert magic black and white ; ; Violin sonata no.
David Air from orchestral suite no. Wilhelm Caprice in A minor, op. The story behind Concert magic : Yehudi Menuhin in conversation with Humphrey Burton color and black and white ; ; Perpetuum mobile, Op. The great master violinist Yehudi Menuhin joined a group of friends at the Charlie Chaplin Studios in to record the legendary Hollywood music film, "Concert magic". When it was premiered at the Stage door Cinema in San Francisco, it was the first ever concert filmed for movie audiences. Yehudi Menuhin was 32 years old and had already climbed to enormous heights of critical success and popularity.
He and the other musician played classical and romantic works for the recording. The one hour long bonus track features "The story behind Concert magic". In , 50 years after the creation of the film, Yehudi Menuhin and Humphrey Burton director of a number of Leonard Bernstein concerts and an expert biographer of Menuhin viewed the film in front of the cameras. Menuhin recalled the making of the film in an interview and added many interesting details with regards to music, filming, artists and the idea behind it all.
Decades : a century of songs. Volume 1, . Abschied vom Leben : op. Deutsche Grammophon Gesellschaft, the mono era . Limited ed. Description Music recording — 51 audio discs min. Summary CD 1. Piano sonata no. Concerto for piano and orchestra no. Mazurka in C sharp minor op. CD Sonata for piano and violoncello in E minor op. String quartet no. CDs Variations and fugue on a theme by Johann Adam Hiller op. Fantasia in C major op. Ein deutsche requiem op. Der Rosenkavalier op. String quartet in G minor op. Sonata for piano and violin in G major op. March in G minor op.
Symphonie espagnole op. Concerto for violin and orchestra no. Fidelio : opera in two acts . Sound: digital; optical; stereo; surround. DVD video; region 0. Folkslied . Lebt kein Gott . Summary Fidelio, op. Welch' Dunkel hier! Die Wunde! Mozart in the jungle. Season 3 : an Amazon original series soundtrack .
Act 1. My first Beethoven album . Scherzo Seraphim Trio Piano sonata no.
- Catalogue 83 by J & J Lubrano Music Antiquarians - Issuu!
- Trans-Atlantic Passages.
- In a World of Reverse (Series Three Book 2).
- Master Collection (The Complete Golfer Book 1).
- Lesbian Erotica: Bone Me Already?
- 16th-century male writers.
- More titles to consider?
Scherzo Goldner String Quartet Symphony no. The ninth symphony of Beethoven . Ode an die Freude : Beethoven zum Durchstarten . Ode to joy . Princeton, N. Summary Musik zu Goethes Trauerspiel "Egmont, " op. Retour aux sources : Yehudi Menuhin in the Soviet Union. Sound: digital; optical; stereo; mono. Digital: video file; DVD video; all regions. Sonata for piano and violin no. Favourite opera: Don Giovanni.
His two Massachusetts Institute of Technology. Favourite opera: Lulu. War 2. In my paper, I integrate these stories of ordinary artists th e fasc i st pe ri od. I argue that two elements life and the practicalities of career continuity. It will examine the role of burlesque in conditioning social attitudes towards opera, in making it more widely accessible and Crossing Social Boundaries comprehensible, and in negotiating boundaries: between classes, geographical areas, progress and tradition, and between censorship and freedom of expression.
Chair Benjamin Walton see p. Her Opera Journal, The Opera Quarterly, 19th-Century Music Review and various edited current chapter, from which this paper is derived, is her first foray into the digital collections. Favourite opera: Le nozze di Figaro. This paper explores the networks hierarchies. The place of opera in such debates, however, was far from bankers. She studied Music at the University of identity. New areas of research interest include composer biography, and more recently maligned popular theatre genres, including melodrama and burlesque.
In a relatively short period a considerable change affected all aspects of life. The popular theatre of the day bears witness to contemporary responses to these profound shifts. She lives in Cambridge, MA. He lives in Hampshire. While there are evident comforts and attractions in napoleonica such formulations, the picture that emerges has many questionable Romantic legacies. He has published an article on Mrs. Bodies, discovered in the National Archives of Copenhagen, Giuseppe Sarti explains to the Adaptations that Work collectivity, and politics in medicine and prophylaxis in board of the Royal Theater how to perform Italian opera.
Chair Anselm Gerhard see p. He is one of the rare specialists of MA. Managing Editor at Fondazione Rossini since , he is presently working on the critical editions of Reg iet h ea te r a nd d i se nc ha nt me n t: T he ca se of R u sa lk a. In this paper I will examine how Regietheater S ed v ic ta R o ss i ni? My two examples will be a larger view on Primo Ottocento opera can answer.
Her doctoral Schubert created musical equivalents for complex abstract ideas in settings of Schlegel thesis, supervised by Prof Sherry Lee, is provisionally entitled, Berg, Schreker, Zemlinsky: and Novalis. She has also published articles and two critical editions. Amanda holds a Master of singer, she has emphasized early music, lieder, and music since These adapted versions work well victim of war.
This opens lyrical tenor voice of the disdainful Drum Major , this paper offers a reading of Wozzeck the possibility of importing elements from the non-European culture. Poulenc was manifestly concerned about being typecast as lightweight. To popular melodies used as vehicles upon which new texts were grafted, as building counter this, he implicitly encouraged examination of how his music might be blocks to construct spectacle in the eighteenth century. Important to this deserves more attention than it has so far received in the secondary literature.
In addition to his scholarly Columbia. She is currently working on a book on music, modern repertory, critical discussions of the opera have been sparse and even then, pantomime, and freedom in the Enlightenment France. The librettist Beaumarchais designed for the plot a castrato Calpigi propositions. What kind of advice did Istituto superiore di Studi musicali di Terni Italy. She received a PhD in the hygienists give to men and women who sung on stage, and how did some singers Philology of Music at the University of Pavia-Cremona and a PhD in themselves contribute to this new understanding of the body and its various Modern History at the University of Bologna She has held post-doctoral expressions?
Vinci, F. Morlacchi, W. She obtained her doctorate degree Leipzig through a study on gender representation in opera prima donna, primo uomo, musico. Now she is teaching and researching in the interdisciplinary field of Theatre Studies, Musicology and Gender Studies. Research interests, current publications and projects touch on subjects such as Spanish theatre history, musical theatre and concepts of acting, the gendered voice and the history of singing.
And if a classically trained voice can transport us where to and by what means? Is it still the same experience Stendhal talked about? Author of several musicology, aesthetics and music critics essays, he has performed concerts, concert-lessons and conferences in Italy, Germany, France, Spain, Switzerland, Cyprus, Brazil and Colombia. A new world, where the Duke of Mantova becomes a faithful lover, Maddalena is turned into The Istituto Liszt di Bologna was founded in by Rossana Dalmonte and a heavenly creature, Gilda sings happily and Rigoletto graciously blesses the whole became a non-profit foundation in Its first assignment is to gather material: manuscripts, scores, books and Mariateresa Storino is Professor of History of Music at the Istituto superiore di articles concerning Liszt and his contemporaries.
To date, numerous Lisztian autograph Studi musicali of Caltanissetta and collaborates with the Fondazione Istituto Liszt scores and letters and more than books, articles and scores have been purchased. Her monograph Franz Liszt. Sonata in Si minore has been well received by the international critic. Originally cinema the tortuous interaction of to page performance and reception from Maryland, she holds a Bachelor of Arts in Music, Art History, and History from history McDaniel College.
In her dissertation, she considers the evolving responses of the operatic world to the emerging cinematic medium in the early decades of the twentieth century, focusing on Casa Ricordi and Giacomo Puccini as case studies. His main interests are the history of Italian opera in Portugal and Brazil, the theory of opera and cultural transference between Europe and the Americas. Favourite pointing out the foundations of those visions may contribute to establish different opera: Don Giovanni.
Radio3, and for television music channels. Winner of the prize The international Rotary Club of Italian tenor Giuseppe Siboni who had sung in the original Prague production What are the reasons and the effects of such a choice? And how? He The pe r i od ica l ret urn of t he sa me: Nie t z sc he, Car me n , a nd earned his PhD from Bologna University in , and has taught at the Salerno en trai n me nt. The focus of his research is German music and aesthetics of in his writings and some naive remarks on the vocal score, becoming basically a the nineteenth and twentieth century.
Le origini del pensiero estetico di Richard Wagner Turin, , and opposed to a Northern world marked by illness and decadence. Favourite opera: Simon Boccanegra. Swedish research project Performing Premodernity, which brings together scholars and practitioners. North America, Europe, and Australia. Parsifal presents itself as a improvisatory practices were falling into decline. Recent scholarship tends to interpret Kundry as one of the Others Musicological Society, and her work on this topic was supported by an NEH Summer despised by Wagner — but the ambivalences and questions in Parsifal perhaps reflect Stipend.
In he founded with attachment. Rivista di inchieste demanded a canny negotiation of both the vagaries of compositional collaboration and teatrali. His researches are focused on the eighteenth-century theatre, opera staging, and the contemporary teatro di narrazione. She graduated in William Ashbrook.
He loves Verdi and Don Carlos in particular. Slovenian and Croatian coast from the post unitarian period to the first world war. Her work concentrates on intersections of theatre and media. Both Barbieri-Nini and ready to reveal new truths and information about artistic choices, singers contracts and Ristori played Lady Macbeth as a grotesque operatic diva, whose ambition had to be performances. His favourite opera is Norma.
Randel Teaching and Research Fellowship. Donizetti and Viennese Squirming in their seats: The the shared exploitation of new stage technologies in both popular theater and grand Redefinition of operatic cosmopolitanism physicalized reaction to the opera as a precursor to the new medium of film. This paper is based on her thesis from the University of Chicago, where her advisor was Steven Rings. Her current scholarly interests include opera and radio in Italy during the first half of the twentieth century. I examine comics and opera as multimedia in their performance in Vienna and was the third European production.
The opera was almost own right and as texts in dialogue with one another through internal references in each immediately adapted into Polish, which indicates its appreciation by the public. An work to its counterpart in the other medium. The operatic stage offers an arena for analysis of available sources and of the dynamics of rivalry between the international exploring this fluid relationship between text and music, fantasy and reality, allowing operatic troupes employed at the Warsaw public theater in the second half of the 18th Herbert to draw attention to processes of adaptation and negotiation that occur on century reveals that the original premiere was an event that, for the first time, elevated both page and stage.
Bianca De Mario is a postdoctoral fellow at the University of Milan. She received Matthieu Cailliez, junior lecturer at the University Paris-Sorbonne, obtained his her PhD in Comparative Studies at the University of Siena, with a dissertation about PhD on November 18, , as a member of the Trinational Graduate College eighteenth-century opera seria between dramaturgy and direction. Red e fi ni ti o n of o per atic s pace s i n the the only one French opera theatre which can financially afford to employ a permanent d igi ta l a ge. On the occasion reality.
In the digital age direction is a fundamental step throughout the mediatisation of the passage of itinerant Italian companies through France, ten cities are in a position process but it is only the first link in the chain which leads to present-day operatic to offer their public, mostly for a brief period, the performance of some works in spectatorship.