No one can complain that Jean-Francois Sivadier, the director for Bologna Teatro Comunale’s production of “Don Giovanni,” failed to think carefully about the the work’s underlying themes, its dramatic drivers and the construction of its characters, in fact, the problem was the exact opposite. His program notes teem with observations and ideas; in one short paragraph alone, there is enough {…}
On December 19, 2018, The Metropolitan Opera premiered this season’s run of Mozart’s musical drama “The Magic Flute.” This production by Julie Taymor is notable for its English translation, abridged running time, and opulent presentation; these features concentrated the drama and allegorical meaning which would unfold in the hands of the company’s cast of artists. Squaring the Circle Taymor’s production {…}
Any composition called “Marx in London,” especially when categorized as a comic opera, is more likely to encourage expectations of Groucho, Harpo and Chico than the ornery, orotund author of “The Communist Manifesto.” Although Karl Marx spent many years in London, Jonathan Dove’s latest operatic endeavor, commissioned by Theater Bonn, focuses on just 24 hours of the philosopher’s domestically dysfunctional {…}
On Dec. 13, 2018, mezzo-soprano J’Nai Bridges made her debut at New York City’s Carnegie Hall, joined by pianist Mark Markham. The evening’s program was a fascinating mix of spiritual and classical selections, which showcased not just Bridges’ artistry, but her passion as well. The First Half Starting the evening’s recital was William G. Fischer’s “I’d Love to Tell the {…}
There was a ton of drama in Verdi’s “Otello” on Monday, Dec. 17, 2018. But it wasn’t necessarily always the kind you might be expecting. Tenor Stuart Skelton made his Metropolitan Opera role debut at the house after having to cancel the opening night performance due to illness. He remained ill, but that fact was not given to the audience {…}
Can great singing justify the whole opera production? This season director Amélie Niermeyer presented a new production of Verdi’s masterpiece “Otello” at the Bayerische Staatsoper. In this controversial production any heroic as well as historical context was removed. Instead of a story of an exhausted hero, broken under the pressure of doubts and jealousy, we received a story of a {…}
When British composer Mark-Anthony Turnage wrote his two act opera “Greek” he was 26-years-old. The opera that premiered in 1988 in Munich, care of a co-production of the Munich Biennale, Edinburgh International Festival and the BBC, launched Turnage’s career. He has not looked back since. Post “Greek,” most audiences recognize Turnage via his two most popular works – the opera {…}
The Manhattan School of Music (MSM) showcased two one-act operas this past fall in its newly renovated Neidorff-Karpati Hall that set the bar high for an exciting season ahead. First Up, Rota The first opera, Nino Rota’s “I Due Timidi” was the perfect choice of scenery to have on display for the new stage. Scenic Designer Lee Savage showcased an {…}
William Kentridge’s ”The Head and The Load,” currently playing in a two-week season at the Park Avenue Armory, opens with a still portrait. Three people – two African women and an Italian man frame a stripped upright, teak-colored piano. The man seated on the floor wears a maroon Fez – the headdress of the Turkish military until 1927. The two women {…}