“And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith… I am nothing.” Angela Denoke—the German soprano famous for her portrayals of oddball characters like Emilia Marty, Kundry, and Lady Macbeth of Mtsensk—is an instinctive performer who legitimately deserves the “singer-actress’ epithet. Thursday’s recital at Opera Bastille’s Amphitheatre—which centred around Brahms’ Vier ernste Gesänge (Four Serious Songs), the fourth of which contains the above quotation from Corinthians—demonstrated that Ms. Denoke is capable of maintaining dramatic presence and commitment beyond the opera stage and into the more intimate world of Lieder. Read more »
“There it is! The Castel Sant’ Angelo,” I told my Canadian and Norwegian friends as we darted past, desperately trying to find a midnight bus in Rome. “Built in 123 AD! This is where Tosca leaps to her death after her lover Cavaradossi is ‘unexpectedly’ executed! But first she wails, ‘O Scarpia, avanti a Dio!’ (O Scarpia, we meet before God!)” Read more »
Cecilia Bartoli, the revered, ebullient, and unique mezzo-soprano, does not like to fly in airplanes. Yet she managed to journey to St. Petersburg, Russia.
“With radiant looks, we shall depart this world,” sing Konstanze and Belmonte near the end of Mozart’s exotic yet charming opera Singspiel Die Entführung aus dem Serail.
Three nights, three concert halls, and three incredibly diverse programmes.
“Oh to be young and going to Paris for the first time,” exclaimed an elderly gentleman who donned his best sweatervest for a concert at the Ottawa International Chamber Music Festival this past August.
Walking away from Theatre Châtelet this afternoon, I felt as though my relationship with France and its notoriously perplexing people and culture had at long last reached some degree of depth.