The appeal of Ariadne auf Naxos (for me anyway) is the acknowledgment that underneath it all, opera (and all other forms of “high art”) is really show business. Richard Strauss was a practical man of the theater and he cared very much about maintaining his expensive lifestyle. There’s an evergreen tongue-in-cheek quality to Ariadne that I love. Of course, irony and humor are one of the first casualties in opera productions. The latest video from Glyndebourne is no exception. Read more »
Richard Strauss’ Elektra has always been something of a touchstone opera for this reviewer. It was one of the first operas I attended at the Met (Birgit Nilsson’s return in 1980—I still have her “Orest!” ringing somewhere in my brain). It was the first full opera recording I ever bought (Nilsson, Solti) on cassettes that I still have in my collection. My other live Elektras include Ute Vinzing, Hildegard Behrens and, most recently, the excellent Christine Goerke in Chicago.
But none of my previous Elektra experiences prepared me for this stunning, overwhelming performance from the Festival d’Aix-en-Provence, with brilliant and incisive stage direction by Patrice Chéreau (his final opera staging before his death in 2013). Esa-Pekka Salonen leads a superb cast and the Orchestre de Paris in a reading of Strauss’ score that doesn’t stint on the powerful climaxes yet brings out all the musical textures—there are, of course, the booming brass-and-drums moments, but Salonen also finds the thrilling quiet moments. The playing and singing in the Recognition scene are exquisitely sweet. Read more »
A good performance of a Rossini opera buffa usually bubbles along merrily—from the opening chords of the usually jaunty overture to the thrilling ensemble finales, the audience expects to have a good time and to listen to some impressive vocal fireworks.
For years these opera buffas were the victims of disfiguring cuts, transpositions, and “performance traditions” but in the last 30 years or so there’s been a strong and steady push to present the works as written, with all the original arias back in place in their original keys, and to find singers who can do the fiendishly difficult music justice. The annual Rossini Festival in Pesaro has maintained its reputation as a place where Rossini’s works are presented with scrupulous musical scholarship, high production values, and top-tier Rossini singers. Read more »
After a long summer drought, suddenly new Blu-ray and DVD releases are falling, as it were, from the sky.
It’s rare to encounter a video of an opera that has zero redeeming qualities, but I think I might have found it: the latest Arena di Verona La Traviata.
For those of you still queasy after Mary Zimmerman’s sophomoric snarknado attack on Bellini’s La Sonnambula, the new DVD of the Stuttgart Opera production should provide a bracing restorative.
The Salzburg Festival has long had the image of this place where for a little over a month, the very best singers are brought together with the very best conductors and the very best directors to create the very best productions the opera world has to offer.
Some ideas are so absurd that the only way to describe them is to simply use the liner notes.
With the help of our friends at ArtHaus Musik, the Deutsche Oper Berlin have really been emptying out their archives and that’s certainly all for the good.
It appears that Mariame Clément’s conception of Don Pasquale is that the opera should be retitled Malatesta.