In 1840 Verdi’s second opera, and his first attempt at comedy, “Un Giorno di Regno,” was premiered at La Scala in Milan to widespread criticism, criticism that the composer took to heart to the point that it took more than 50 years before he would write another comedy. Of course, we know how that second comedic experiment turned out as {…}
Martina Franca, situated in Puglia in south east Italy, is home to the annual Festival della Valle d’Itria, which is largely, although not exclusively, devoted to the presentation of obscure, neglected, and rarely-performed operas. Its stated mission is “dedicated to researching and deepening our knowledge of Italian bel canto,” and it is in this light that it selects operas and {…}
From start to finish, Strauss’s “Elektra” pulls us into the dark night of the soul and its tormented landscape. There Electra does with us what she does to herself – rages, grieves, strains, plots and plans, and violates any chance she has for peace of mind or human freedom. If she thinks that such a prospect will grant her ease, {…}
Tenor Alek Shrader and mezzo-soprano Daniela Mack have enormous operatic careers and have sung all over the world both individually and together. The couple has joined forces in such operas as “La Cenerentola” and Handel’s “Partenope” and this summer they will be reunited in Handel’s “Alcina” at Santa Fe Opera. I had the chance to speak with them on my {…}
Verdi’s “La Forza del Destino” has had an uneven performance history despite containing some of the composer’s most memorable music, not least its well-known overture, made famous through concert performances, and the emotionally charged duets that characterize the work. The problem, however, stems not from its music, but from its sprawling structure and the complex tensions that drive the narrative. {…}
It’s no surprise that most of Donizetti’s output is rarely performed, with many operas becoming obscure to many audiences. Only a few of his works have actually had a chance to make their way into the repertoire and remain there consistently. But this is not the case with “L’Assedio di Calais” which premiered in 1836 and has since been performed {…}
The Teatro Municipal Jorge Eliecer Gaitán is not among the most aesthetically pleasing of auditoriums in the city of Bogotá, Colombia. Dedicated to one of the great tragic figures in Colombian history, a man known for his support of the disenfranchised (his assassination led to one of the most prominent massacres in Colombian history), the theater is rather minimal in {…}
One of the great delights of today’s viewer technology is sitting in your living room, a cup of chocolate in your hand, and, before you, a vibrant, young orchestra, a brilliant and famous conductor, and a dozen notable first-class singers embarked in a world of eroticism with genius music – in other words, “Salome.” Thanks to Medici TV’s ample coverage {…}
“Carmen,” Georges Bizet’s Spanish-inspired masterpiece, was performed at the Festival d’arLyriqueue d’Aix-en-Provence’s 2017 season in an unconventional production. Russian director Dmitri Tcherniakov’s has consigned the traditional Sevillan mantillas, toreros, and abrigos de luz to distant memory and, for the hugely popular opera’s return to Aix for the first time in 60 years, has fully reviewed the story to give it {…}