Festival d’Aix-en-Provence confronts the living and the dead — and its own future — through audacious productions and an intimate world premiere.
The Aix festival organized two back-to-back evening concerts dedicated to the Russian masters. One was an embarrassment of Slavic riches, the other… well, just an embarrassment.
The Met’s recent Ariadne auf Naxos and Elektra combo left me wanting more and more Richard Strauss, so Trove Thursday offers a complete Capriccio with Jonas Kaufmann (his one-and-only Flamand) and Christopher Maltman vying for Soile Isokoski.
Renée Fleming makes her belated “Trove Thursday” debut as Sandrina in a rare early performance of Mozart’s La Finta Giardiniera.
Among several fine productions at Aix this summer, Dmitri Tcherniakov’s brilliantly conceived and executed Carmen proved a game changer.
“I will never sing the role again. It was frightful. We were a set of madwomen…There is nothing beyond Elektra. We have lived and reached the furthest boundaries in dramatic writing for the voice with Wagner. But Richard Strauss goes beyond him. His singing voices are lost. We have come to a full stop.”
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.
None of my previous Elektra experiences prepared me for this stunning, overwhelming performance from the Festival d’Aix-en-Provence.
Our Doyenne demonstrated her omniscience once again by sending me a DVD of Rimsky Korsakov’s Le Coq d’Or (Zolotoy Petushok) to review. I’m with musicologist Richard Taruskin who stated that Rimsky Korsakov was “perhaps the most underrated composer of all time” (and I’m sure his editor insisted on including the “perhaps”).
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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