Der Barbier von Sevilla: Die Opern der Welt (German Edition)

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Would you also like to submit a review for this item? You already recently rated this item. Your rating has been recorded. Write a review Rate this item: Preview this item Preview this item. Gioacchino Rossini ; Meyer Lutz Publisher: Gesang und Klavier, Text, deutsch-italienisch View all editions and formats Rating: Subjects Operas -- Excerpts -- Vocal scores with piano.

This turbulent tale has an aged curmudgeon intent on marrying his own ward in order to get his hands on her inheritance. He does everything he can to prevent the attractive Rosina from having contact with the outside world - and possible young lovers. Little does he know that Count Almaviva has long since fallen in love with her. By enlisting the help of the engaging, energetic barber Figaro his plan is not only to get the better of the old man and win Rosina over but also to ensure that the young woman loves him for his own sake and not for his title and fortune.

No easy task for Figaro, who is pitted against a number of opponents. But in the end love conquers all and the precautions taken in the elaborate venture turns out to have been for nothing. Giovanni Paisiello's music in the production of BARBIERE brought him wide acclaim and set a high standard for Rossini to follow as the latter went about reworking the material into a new comic opera.

Those who despise Italian music and hasten to openly revile it will one day receive their just punishment in hell, perhaps condemned to listen for eternity to Sebastian Bach's fugues. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output: Schubert's life, in miniature. Never heard of Nicola De Giosa , a composer who was born in Bari a town on the Adriatic, near the heel of Italy , but who spent most of his career in Naples?

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here. The Complete Songs series, and the results were harmonious and happy. It is, of course, quite an achievement in itself for a symphony orchestra to perform Das Rheingold or indeed any of the Ring dramas.

This was the infamous production that was booed to extinction at Covent Garden. In the world of opera, the rot set in innocently, gradually. The Tucson Desert Song Festival consists of three weekends of vocal music in orchestral, chamber, choral, and solo formats along with related lectures and master classes. Both are masterpieces, but they are very different kinds of operas and experienced quite asymmetric performance histories. The Royal Opera House has announced the five singers who will join the Jette Parker Young Artists Programme in September, selected from more than applicants from 59 countries.

This is the world premiere recording of the text in English, the original language in which it was written. The new recording, from Munich, has features in common with one from Stuttgart that I greatly enjoyed and reviewed here: The two works on this CD make an apt and welcome pair. Opera transcends time and place. One recent survey suggested that in , the average age of a classical concertgoer was 36, whereas now it is plus.

As he challenges the young lover who has betrayed him and excoriates Society for its wrong and unjust laws, Wilde also subjects his own aesthetic ethos to some hard questioning, re-evaluating a life lived in avowal of the amorality of luxury and beauty. I had never heard of Stefano Secco before receiving this CD. But I see that, at age 34, he already has had a substantial career, singing major roles at important houses throughout Europe and, while I was not paying attention, occasionally in the US.

It was composed by a year old girl. Stendhal complained that in Trieste nothing had been left to the imagination. As well, in Lyon nothing, absolutely nothing was left to the imagination. The Barbican performance last night was no ordinary concert. This performance was extraordinary because it carried a message. But also, because some of the cast seemed rather out of sorts.

Scandinavian musical culture has very strong roots, and is thriving still. Tucked away in the far north, Bergen may be a hidden treasure, but, as this performance proved, it's world class. The journey is always the same, and never the same.

Richard Wagner

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster. It felt rather decadent to be sitting in an opera house at 12pm. In , concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born.

Not many maybe any of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions. The last of the operas which Rossini composed for Italian theatres between , Semiramide has had only one outing at the Royal Opera House since , and that was a concert version in Here are five complete song sets by two of the greatest masters of French song.

The performers are highly competent. I should have known, given the rave reviews that their recording of modern Norwegian songs received. The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum Magic Flute , have it rendered as sung recitative Carmen , or have it spoken in the vernacular though the sung numbers may often be performed in the original language Die Fledermaus.

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes. Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall.

The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival. This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary almost to the day since Singcircle first performed STIMMUNG at the Round House , and their final public performance of the piece.

Andrea as some of us may have remembered it from time gone by. Make him think the evil, make him think it for himself, and you are released from weak specifications. Austrian singer Elisabeth Kulman has had an interesting career trajectory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in , following an accident while rehearsing Tristan. But, the drama is a little less hyperactive, the characterisation less larger-than-life.

From Boesch and Martineau, excellence is the norm. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter. Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described.

In composer Patrick Morganelli wrote a chamber opera entitled Hercules vs.

Vampires for Opera Theater Oregon. A little wind and rain are nothing to worry about! Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's year relationship with Salonen.

It began life as a propaganda piece, Albion and Albanius, in , during the reign of Charles II, but did not appear on stage as King Arthur until when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly. There have been dozens of capable, and more than capable, recordings of Lohengrin. Recording a major Wagner opera involves heavy costs that a record company may be unable to recoup.

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung. The two-act scenario had been devised by Hugo von Hofmannsthal and the screening was accompanied by a symphony orchestra which Strauss himself conducted. And, it certainly does look good.

As a prelude to the season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season. POP audiences enjoy casual seating with wine, water, and finger foods at each table. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats. An astonishingly theatrical touch, but absolutely right. Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

Three years into their MOZART project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries. Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia and by extension, the world with a crackling and melodious new stage piece, Elizabeth Cree. I have to confess, somewhat sheepishly, at the start of my conversation with Mark Padmore, that I had not previously been aware of the annual music festival held in the small Cotswolds town of Tetbury, which was founded in and to which Padmore will return later this month to perform a recital of lieder by Schubert and Schumann with pianist Till Fellner.

But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind. He is best known for having been composition teacher to Giuseppe Donizetti. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed. It is a painful exposure of the fracture which separates the Sovereign King from the human mortal.

Ten Days that Shook the World. Goerne adeptly interprets the paradoxical combination of hope and despair that underpins these works, deploying a graceful lyricism alongside a richer, darker bass register. An exceptional recording, probably a new benchmark. This Prom was all about places: The rare and somewhat interesting Rossini! Torvaldo e Dorliska comes just after Elisabetta, Regina di Ingleterra the first of his nineteen operas for Naples — a huge success, and just before Il barbiere di Siviglia in Rome — a failure.

South African actor, artist, multimedia artist, film and theater, now opera director William Kentridge has taken the world by storm over the past few years. And now Wozzeck at the Salzburg Festival. From time to time felicitous circumstances create impromptu masterpieces, like the Salzburg Whitsun Festival production of Handel's Ariodante that has continued just now into the summer festival. In the wake of the terrible fire at Grenfell Tower, the soprano Nazan Fikret decided to rally fellow performers and put together a concert to raise funds for those affected, and she has brought together a sensational line-up of both established and up-and-coming artists.

It is hard to believe that an opera by Donizetti is receiving its American premiere at the Glimmerglass Festival, but such is the case with The Siege of Calais. Director Molly Smith knew just how to best succeed at staging the evergreen classic Oklahoma! Impeccable casting — see photos. German soprano Christiane Karg invited us to accompany her on a journey during this lunchtime chamber music Prom at Cadogan Hall as she followed the voyages of French composers in Europe and beyond, and their return home.

Opera Today : Reviews

That of Rossini in French and that of Lord Byron in English, Russian, Italian and Spanish , the battles of both Negroponte and of Missolonghi re-enacted amidst massive piles of plastic water bottles thousands of them that collapsed onto the heroine at Mahomet II's destruction of Corinth. John Butt and the Dunedin Consort's recording of Bach's St John Passion was ground-breaking for it putting the passion into the context of a reconstruction of the original Lutheran Vespers service. A drill for the end of the world? At the start of the 20th century, French composers seemed to be conducting a cultural love affair with Spain, an affair initiated by the Universal Exposition of where the twenty-five-year old Debussy and the fourteen-year-old Ravel had the opportunity to hear new sounds from East Asia, such as the Javanese gamelan, alongside gypsy flamenco from Granada.

Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. Soprano Louise Alder has had an eventful few months. And, while the trademark doorstop Proms opera programme duly arrived containing full text and translation, one should celebrate the fact that - finally - we had surtitles on several screens.

This is the only disc ever devoted to the art of Sesto Bruscantini — Record collectors value his performance of major baritone roles, especially comic but also serious ones, on many complete opera recordings, such as Il barbiere di Siviglia with Victoria de los Angeles. He continued to perform at major houses until at least and even recorded Mozart's Don Alfonso in , when he was Since , the ARD—the organization of German radio stations—has run an annual competition for young musicians.

Starting in , the CD firm GENUIN has offered, as a separate award, the chance for one of the prize winners to make a CD that can serve as a kind of calling card to the larger musical and music-loving world. If there is any practitioner currently singing the punishing title role of Lucia di Lammermoor better than Brenda Rae, I am hard-pressed to name her. Oper Leipzig usually receives less international attention than its Dresden, Munich or Berlin counterparts; however, with its fabulous Gewandhaus Orchestra, and its penchant for opera rarities and a new Ring Cycle , this quality hotspot will be attracting more and more opera lovers.

Detlev Glanert's Requiem for Hieronymus Bosch should be a huge hit. Just as Carl Orff's Carmina Burana appeals to audiences who don't listen to early music or even to much classical music , Glanert's Requiem for Hieronymus Bosch has all the elements for instant popular success. Big birds are looming large at Glyndebourne this year. As an African, Farah expected a different narrative, demonstrating that our reception of art depends so much on our assumptions and preconceptions.

The scouts for the festival made the smart decision to let McVicar adapt his Covent Garden staging to the unique locale of Castle Olavinlinna. Only one Shakespeare play has resulted in three operas that get performed today whether internationally or primarily in one language-region. Perhaps surprisingly, the play in question is a comedy that is sometimes considered a lesser work by the Bard: The Merry Wives of Windsor. The excellent Finnish soloists and glorious choir unflinchingly offered this opera of vocal blood and guts.

The bel canto repertoire requires stylish singing, with beautiful tone and elegant phrasing. Strength must be allied with grace in order to coast the vocal peaks with unflawed legato; flexibility blended with accuracy ensures the most bravura passages are negotiated with apparent ease.

That, I have no doubt, is unquestionably a good thing. So, perhaps the tenor voice possesses the requisite combination of lightness and yearning to convey this trajectory from guileless innocence to disenchantment and dejection. For my first trip to Finland, I flew from Helsinki to the east, close to the border of Russia near St. In this enchanting locale in the midst of peaceful nature, the sky at dusk after the mesmerising sunset fades away is worth the trip alone!

But were we enlightened? Of all the places, I did not expect a sublime Tristan und Isolde in a repurposed barn in the Cotswolds. Any opera house would envy the riveting chemistry between Peter Wedd and Lee Bisset in this intimate, seat setting. Epic drama in minimalistic elegance: For almost thirty years, summer at the Concertgebouw has been synonymous with Robeco SummerNights.

This popular series expands the classical concert formula with pop, film music, jazz and more, served straight up or mixed together. There have to be special reasons to release a monophonic live recording of a much-recorded opera. Often it can give us the opportunity to hear a singer in a major role that he or she never recorded commercially—or did record on some later occasion, when the voice was no longer fresh. Often a live recording catches the dramatic flow better than certain studio recordings that may be more perfect technically.

Hans Knappertsbusch was one of the most renowned Wagner conductors who ever lived. His recordings of Parsifal, especially, are near-legendary among confirmed Wagnerians. This was mainly due to succinct musical direction and rigorous dramatic direction. It also meant that the proximity of the action was a fascinating treat, and by the artists being young, and easy on the eye.

There is a host of fine operas out there languishing more or less unperformed in some cases, quite unperformed. Feel free to remove inverted commas, should that be your thing. The Aix Festival opened five operas, all new productions, on five consecutive evenings. Much of the music is stirring, including some among the most profoundly moving passages in all opera. The revolutionary political idealism that underlies the opera is inspiring, particularly to those in German-speaking lands, where it inspires reverence.

Back to the operatic days when the book took top billing and the composer's name was in the fine print. Metzmacher gets Schreker - revealing his modernity and originality. There are many kinds of "modern". Schreker was a highly original composer, very much a man attuned to the creative ferment of his time, fuelled as it was by new ideas and social change.

For the dull taupe curtains which frame the sides and room of the set drape their traditional sprinkling of willow and bamboo like a bleached Hokusai wave. One might expect a satire on sexual stereotypes penned in to feel a bit dated in All come from BBC broadcasts made between and Of the 26 tracks in this collection, 19 are "new", not having been commercially released. The remaining seven have been remastered by sound restoration engineer Ted Kendall.

Something here even for those who already own the complete recordings. Opera Theatre of Saint Louis knew to trust the surefire potential of Madame Butterfly, and pretty much stayed out of its way. If opera is to remain a viable, accessible 21st century art form, it will be largely owing to the commitment of visionary companies like Opera Theatre of Saint Louis. Martin Duncan's production of Rossini's Il turco in Italia debuted in , only the second production to be performed in Garsington Opera's then new home at Wormsley.

That Opera Theatre of Saint Louis fearlessly embraces the cutting edge is once again evidenced by their compelling American premiere of The Trial. A most convincing Rigoletto, Chioldi was a man in psychological pain from the begining of the opera. His fear and his vulnerability to the whims of the nobility were evident in every meaty, well-colored phrase he sang. Thumbprint is the story of the young, innocent and illiterate Mukhtar Mai who was assaulted by a group of powerful men.

Following the attack, Mukhtar, having supposedly been disgraced, was expected to commit suicide. Instead, she amazed everyone who knew her by going to the police and calling for the arrest of her attackers. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium.

Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground. This Marseille edition achieved an artistic stature rarely found hereabouts, or anywhere. This was operatic activism, pure and simple. Dressed in metallic, shimmering black she moved rather stately across the stage to her piano - but there was nothing stately about what unfolded during the next 90 minutes. A summit reached at the end of a long journey: Unmistakably a high point in the whole traverse.

A well-planned programme of much-loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish. The Grange Festival, artistic director Michael Chance, has opened at Northington Grange giving everyone a chance to see what changes have arisen from this change of festival at the old location. For our first visit we caught the opening night of Annabel Arden's new production of Bizet's Carmen on Sunday 11 June Thankfully, the opera comique version of the opera was used, with dialogue by Meredith Oakes. San Francisco Opera revved up its production of Don Giovanni with a new directorial team and a new conductor.

And a blue-chip cast. A body lies in half-shadow, surrounded by an expectant gathering. Our Father is intoned in Gregorian chant. The solo voices bloom into a chorus with a joyful flourish of brass. Every once in a while a warhorse redefines itself. Yet he considered himself, above all, a composer of opera. Notably, all were also marking their own role debuts, as well as this production being the first Massenet opera staged by organization in its year history.

The Requiem text has brought out the best in many composers. The production debuted in Magdeburg last year and now Welsh National Opera is presenting the production as part of its Summer season, the company's first Der Rosenkavalier since when the cast included Rita Cullis as the Marschallin and Amanda Roocroft making her role debut as Sophie.

To open the season at Garsington Opera, director Annilese Miskimmon and designer Nicky Shaw offer a visually beautifully new production of Handel's Semele in which comic ribaldry and celestial feuding converge and are transfigured into star-dust. One year ago, tens of millions of Britons voted for isolation rather than for cooperation, but Douglas Dougie Boyd, Artistic Director of Garsington Opera, is an energetic one-man counterforce with a dynamic conviction that art and culture are strengthened by participation and collaboration; values which, alongside excellence and a spirit of adventure, have seen Garsington Opera acquire increasing renown and esteem on the international stage during his tenure, since Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive.

Opera Today

The colours in his voice have matured, with even greater richness and depth than before. The prize is awarded to singers and instrumentalists in alternate years and this year was the turn of the singers. La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight. In their vocal and instrumental innovations, he discerned a similar revolution in music. In , director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded opera.

His Floria was a dove among hawks. One of the great American operas, Vanessa was hailed as a triumph at its premiere in but quickly fell out of the repertoire and has only been staged intermittently since. The Kathleen Ferrier Memorial Scholarship Fund was founded in in memory of the much-loved contralto from Lancashire who died at the tragically young age of 41 and whose career as a singer lasted just 12 years. The first competition was held in and it has continued to provide a few outstandingly talented young singers each year since then with the opportunity of making a start in what is a most difficult and demanding career.

Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the Competition.

Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties.

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Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: We want to get out of here! It is sung by opera singers to live music. Its revival at Dutch National Opera, where it premiered in , is hugely welcome. Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.

So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera. From the singing I heard, they definitely have something of which to be proud. The Festspielhaus in Baden-Baden pretty much programs only big stars.

A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic.

This was no ordinary concert. Oliver Mears, who will begin his tenure as Director of Opera, comments: For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.

Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo. It scratches, twitches and yelps.

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A new recording, made late last year, Morfydd Owen: To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled. Alessandro was the joint winner of the Kathleen Ferrier Competition Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule.

Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex nonsensical? The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot. Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall.

Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval. American soprano Camilla Tilling starred in the solo part.

During the past few seasons, English Touring Opera has confirmed its triple-value: Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming festival. Now in its 66th year, this internationally renowned festival will run over an extended day period, from Thursday, 19 October to Sunday, 5 November. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony.

Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing. Mahler was a dominant musical personality: Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour.

That evening, because of a blown transformer, there was no electricity in the Ebell Club area. Most recently a huge fire in provoked a major, five-year renovation of the hall and stage that reopened in For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival , which opens for public booking on 5 March. With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences.

Matthew Rose and Gary Matthewman Winterreise: The entire twentieth century saw but three 3 performances in this European capital. Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd or Carmen who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone. American composer John Adams turns 70 this year. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer. In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein my first time! I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci b. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules. And his third staging of Falstaff following Salzburg in and Florence in The document produced was clear, simple, and anodyne.

Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience. Even when it comes down to last minute replacements, the casting is topnotch. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist.

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Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. The Festival theme for is Baroque at the Edge. Inspired by the anniversaries of Monteverdi th of birth and Telemann th of death the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.

Two years ago, the company embarked upon an epic, year exploration of the music written by Mozart and his contemporaries exactly years previously. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.

For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle.

We were taken on three thrilling adventures. How many singers does it take to make an opera? As draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment. Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.