Absent from Chicago Lyric Opera’s repertory for 21 years, Alban Berg’s Wozzeck came roaring into town on Sunday afternoon in a stunning new production by Sir David McVicar, featuring a uniformly excellent cast of singing actors. Performed without intermission, the production maintained a remarkable pace and kept the tension level high for one hundred minutes, after which the audience burst into an ovation of pent-up emotion. Read more »
While taking the long ride on the “El” train to the Civic Opera House from my new home on the very North side of Chicago, I had plenty of time to contemplate the performance to come: Rossini’s La Cenerentola, or, as Lyric Opera has marketed it, Cinderella. I had some trepidation about reviewing this production, as Rossini is far from my favorite composer, and in a buffo piece like this, one often encounters desperate attempts to get laughs with broad farce, or merely “playfulness”…for three hours and fifteen minutes. Read more »
Beginning with the dark, ominous music of the prelude of Charles Wuorinen and Annie Proulx’s opera Brokeback Mountain, we know we are in for a very different and far less sentimental version of the work than was had with Ang Lee’s iconic 2005 film. This 2014 Teatro Real Madrid production (dedicated to the late Gerard Mortier), with sensitive and incisive stage direction by Ivo van Hove, has been released on DVD by Bel Air Classiques.
This opera brings about a third major character to go with the expected herders Jack Twist and Ennis Del Mar: the mountain itself. It is a mysterious and forbidding place. We learn in the first scene that the Boss Aguirre is worried that his expected workers are late or not coming because they’ve “heard something about the mountain.” He describes the mountain as “a knife blade rising from the earth”, a place of “dark power” and “an evil place that kills men.” Read more »
Aribert Reimann’s 1978 opera Lear, based of course on Shakespeare’s titanic tragedy King Lear, is a major achievement in modern operatic scoring.
Before this recording arrived in my mailbox, I: ( a) didn’t know there was an operatic version of Wilde’s The Importance of Being Earnest, one of my favorite plays; and (b) was unfamiliar with the works of composer Gerald Berry. After several hearings, I’m still not convinced that there is an operatic version of Earnest. Barry has created what I would call a narrative set to a series of sound effects. Now many of these effects are clever, occasionally amusing, and purposely bizarre, but they rarely seem to fit the brilliant verbal wit of Wilde’s original. I kept thinking that, […]
A confession: I have a real love/ hate relationship with Mozart’s Die Zauberflote.
Christian Thielemann’s spirited, precise conducting and the superb, sumptuous playing of the Staatskapelle Dresden are the finest features of this strongly cast performance of Strauss’s Arabella.
Having heard a bit of the opening night broadcast and read some decidedly mixed reviews, I was totally unprepared for the remarkable performance of Donizetti’s Anna Bolena that I attended on December 15 at Chicago Lyric Opera.
Soprano Renée Fleming is certainly making the role of the Countess in Richard Strauss’s final opera Capriccio the focus of her late-career years.
None of my previous Elektra experiences prepared me for this stunning, overwhelming performance from the Festival d’Aix-en-Provence.