Roméo et Juliette, Philadelphia
Updated: 2011-03-31 22:29:41
Neither the music nor the libretto of Charles Gounod’ Roméo et
Juliette is quite compelling enough to have made it a popular standard.
Neither the music nor the libretto of Charles Gounod’ Roméo et
Juliette is quite compelling enough to have made it a popular standard.
Little is known about the extent to which Mozart and Da Ponte collaborated on the libretto for Così fan tutte.
With voices of doom predicting the end of the CD format — supposedly to be replaced by downloading — the ancillary art of CD packaging also faces a grim future.
It costs a lot to look cheap. And it takes a village to raise a child. In
the case of the Metropolitan Opera’ current revival of Donizetti’
Lucia di Lammermoor, it takes a lot of talent to produce underwhelming
opera.
This production retains a special place in my heart: its first outing in
1999 was my first Parsifal in the theatre. Saving up my student
pennies, I made the journey not once but twice from Cambridge to London, was
mightily impressed the first time and a little irritated the second.
http://www.nytimes.com/2011/02/26/arts/music/26lucia.html?_r=1&ref=music
This is an opera written with a cannon and a feather. There is sensory
overload—an overload of sensory overload: lights that shine into your face in
the manner of an ophthalmologist scanning your retina; eerie, too-loud sounds
that invade you from every direction; dancing patterns of light that may
resolve into huge words or huge faces; a great chandelier-harp that sometimes
descends to be played, a strumming like the sounds of the sirens in Plato’s
parable of the concentric crystalline spheres.
The first performance of Thomas Arne’ masque Alfred took
place at Clivedon House on the Thames near Maidenhead, in August 1740.
Schubert, but not quite as we know him. You can always rely on the Wigmore Hall to promote adventurous recitals.
Gluck’ operas are part of a continuum, a tradition of French vocal
declamation (as opposed to the Italian school of flights of elegant,
open-throated vocal fantasy) that can be traced to him from Lully and Rameau,
and then from Gluck through certain works of Mozart and Gluck’ pupil,
Salieri to the operas of Spontini, Berlioz and Wagner.
http://www.guardian.co.uk/music/2011/mar/14/la-clemenza-di-tito-review
After hearing his stunning Leporello at Glyndebourne and his Figaro at Salzburg, there was no way I was going to miss Luca Pisaroni’s concert with Wolfram Rieger at the Wigmore Hall, London. But I was delighted by how wonderful he sounded close up in recital.
In the mid-nineteenth century, every nationality that did not possess a
national state felt a need to prove itself, to square its shoulders and claim
nationhood with all the identifying marks of a nation: a language with a
literature, a tricolor flag, a national anthem extolling the people’
stalwart character and the country’ landscape (inevitably the loveliest
in the world), a national theater and a national opera to be performed there.
http://latimesblogs.latimes.com/culturemonster/2011/02/opera-review-los-angeles-opera-turk-in-italy.html
http://www.guardian.co.uk/music/2011/feb/27/il-trovatore-opera-review
Francesco Maria Piave’ Italian libretto for Giuseppe Verdi’
opera La Traviata is based on the French play La Dame aux
Camélias.
http://www.nytimes.com/2011/03/16/sports/football/16opera.html?src=un&feedurl=http%3A%2F%2Fjson8.nytimes.com%2Fpages%2Farts%2Fmusic%2Findex.jsonp
http://www.ft.com/cms/s/2/ba8a88e4-442c-11e0-931d-00144feab49a.html#axzz1FVQD7NMR
http://www.ft.com/cms/s/2/a55dd1aa-4f2c-11e0-9038-00144feab49a.html#axzz1Gi4nmXqx
Francis Poulenc’ Dialogues des Carmélites is an unusual opera, but much sensitive musical thinking has gone into this production at the Guildhall School of Music and Drama, London.
http://www.ft.com/cms/s/2/ee8039e2-4e62-11e0-98eb-00144feab49a.html#axzz1HRpDBXkL
Interesting recordings continue to be produced in the classical music business by smaller labels with particular niche markets. For the label Timpani, their specialty tends to be rarer French repertoire.
Strict courtly hierarchies and the repressed formality of ritual juxtaposed
with violent sexual jealousy and lurid erotic excess … a stage-world
more suited to the Straussian insalubrity of Salomé than to the epic
grandeur of Verdi’ Aida, perhaps?
http://www.nytimes.com/2011/03/15/arts/music/simon-keenlyside-at-alice-tully-hall-review.html?_r=1&ref=music
Eugène Scribe and Giacomo Meyerbeer were in the business of creating
proto-cinematic spectacles of drama and music, the formula being to take a historical incident in some exotic country or era, put in a tormented love story to hold our attention, and resolve the whole in catastrophe.
The front leg of the grand piano may rest at a rather precarious angle, and
the out-sized martini glass lean a trifle askew, but Jonathan Miller’
1986 production of Gilbert & Sullivan’ The Mikado wears its
twenty-five years lightly — as do Stefanos Lazaridis’eye-wateringly white, gleaming sets.
http://www.nytimes.com/2011/03/26/arts/music/bartlett-sher-directs-rossinis-le-comte-ory-at-the-metropolitan-opera.html?_r=1
http://www.guardian.co.uk/music/2011/mar/24/strauss-intermezzo-scottish-opera
http://www.independent.co.uk/arts-entertainment/classical/reviews/monteverdi-the-return-of-ulysses-eno-young-vic-2252967.html
Adapting an extended literary work for the stage remains a challenge today
and was no less so in the baroque era. Ariosto’ enormously long poem
Orlando Furioso was extremely popular and inevitably his highly
coloured characters found their way onto the operatic stage.
http://www.theaustralian.com.au/news/arts/in-for-the-long-haul/story-e6frg8n6-1226025846825
Rossini’ penultimate stage work, Le Comte Ory, belongs to
the tradition of sexy scoundrel operas, along with such works as Don
Giovanni, Zampa, Fra Diavolo, Barbe-Bleu,
Les Brigands and Threepenny Opera.
http://latimesblogs.latimes.com/culturemonster/2011/03/placido-domingo-il-postino-.html
http://sfist.com/2011/03/24/sfist_interviews_soprano_melody_moo.php
http://www.washingtonpost.com/blogs/classical-beat
http://online.wsj.com/article/SB10001424052748704608504576208381100985642.html?mod=WSJ_ArtsEnt_LifestyleArtEnt_4
Monday, April 18 • 5:00pm – 9:00pm Come support Opera Idaho by simply having a delicious dinner or a soothing drink at Bardenay’s Downtown Boise and Eagle locations! Mention Opera Idaho and 20% of your tab will go directly to support the efforts of Opera Idaho in bringing great music to the Treasure Valley. Downtown [...]
If you missed the opportunity to attend Opera Idaho’s performances of Madama Butterfly or you want to hear more, mark your calendars – Boise State Public Radio is broadcasting it on KBSU on the following days: Tuesday, April 19 • 9:00am Friday, April 22 • 3:00pm Turn your dial to 90.3 FM or log on [...]
Thursday, April 7 • 5:30pm 715 S. Capitol Blvd., Boise Soprano Tara Victoria Smith Opera Idaho Artist-in-Residence, headlines a program of popular opera arias, including the show-stopper from La Fille du Régiment, in which she takes the lead role for Opera Idaho’s May 6 & 8 performances. Michele Detwiler, Boise Mezzo-Soprano will also sing popular [...]
Happy Birthday (Thursday) to beloved composer, "Papa" Haydn! He was groundbreaking in the Classical period for his contributions to the form of the symphony, the string quartet, the piano trio, and sonata-allegro form. Haydn was a busy, busy composer. He spent most of his career working for the Esterhazy family, ...
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Opera Idaho welcomes back tenor Matt Morgan along with Sarah Jane McMahon who will be making her first appearance in Idaho on Friday, March 11, 2011 at The Egyptian Theatre in downtown Boise. Morgan starred in Opera Idaho’s 2009 production of Faust. He has made debuts at three of the four theaters at New York’s [...]
The Boise Art Museum, Boise State University Music Department, Idaho Dance Theatre, and Opera Idaho collaborate to present three performances of Orpheus and Euridice. Performed in BAM’s Sculpture Court, Stephen Knapp’s Lightpainting will provide the backdrop and inspiration for a new, visionary retelling of this age-old tale. Knapp’s eighty-foot installation of colored light will create [...]
On March 18 and 19, the Opera Idaho Children’s Chorus, directed by Linda Berg with accompanist Liz Noland, will perform a shortened version of The Mikado. Starring as the Mikado is Drew Myers who also performed the lead role as Amahl in Opera Idaho’s 2009 production of Amahl and the Night Visitors. Drew Myers is [...]