Benjamin Britten’s “Gloriana” was supposed to be one of his great triumphs. The composer himself is quoted, prior to its premiere in 1953, that he saw it as his best work to that point (he had already written “Billy Budd” and “Peter Grimes,” mind you). It was composed for the regal occasion of Queen Elizabeth II’s coronation. It was one {…}
An alien orchestra playing in the illustrious Wiener Staatsoper is about as rare as a running of the bulls on the Ringstrasse. Apart from a one-night swap with the La Scala orchestra in 2011, in recent years only Les Musiciens du Louvre, Les Talens Lyriques, and the Freiburger Barockorchester have been granted such a privilege. The latest member of this {…}
Handel aficionados will get their dose of their beloved composer on Sunday, March 4, 2018 when the Vienna State Opera live streams “Ariodante” worldwide. The performance is led by baroque specialist William Christie in a production by David McVicar. The cast features Sarah Connolly in the tile role, Chen Reiss as Ginevra, Hila Fahima as Dalinda, Christophe Dumaux as Polinesso, {…}
In recent years, Verdi’s “Il Trovatore” has slowly but surely established a potent foothold in the Metropolitan Opera’s standard repertory. The main reason? David McVicar’s striking and still awe-inspiring interpretation of Verdi’s middle-period masterwork. A Master At Work The inspiration of Francisco de Goya and his tableaus is obvious from the opening curtain and onwards. At the core of it {…}
On Jan. 22, 2018, the Metropolitan Opera will revive David McVicar’s production of Verdi’s “Il Trovatore.” The production runs until Feb. 15, a total of eight performances. This year’s production is set to offer up quite some delights for newcomers to Verdi’s mid-period masterpiece. Here’s a look at some reasons you must see this revival. Rising Stars Take the Lead {…}
Sir David McVicar has been directing opera for quite some time, working with such prominent companies as the Royal Opera House, English National Opera, Lyric Opera of Chicago, La Monnaie, and the Glyndebourne Festival Opera. He has also sustained a healthy relationship with the Metropolitan Opera, particularly in recent years where he has been given carte blanche to put together {…}
London is a chilly place. Yet on this particularly evening I leave my coat in the hotel and zip to Covent Garden. No room nor time for extra layers, since attending a performance in the Royal Opera House is a cluttered affair. The long lines for cloakrooms stifle with imperial colognes, and the tight, even if velvet, chairs make Ryanair {…}
“Pagliacci” and “Cavalleria Rusticana” is one of the signature double bills in opera that show offs the many qualities of a leading tenor. Both parts are known for their demanding vocal challenges and in many cases are sung by two different tenors. However, in the Metropolitan Opera’s current revival of David McVicar’s production, Roberto Alagna triumphed in two of his best {…}
This review is for the performance on Jan. 4, 2018. It was the most hotly anticipated production of the new Met season, the run-up to its unveiling on New Year’s Eve as big a melodrama as the opera itself, filled with unexpected twists and turns. And like the opera itself, where its final act feels like an anti-climax after the {…}
On New Years Eve the Metropolitan Opera will premiere a new production of Puccini’s “Tosca.” The production, which will be directed by David McVicar comes on the heels of a controversial one by Luc Bondy (his interpretation of the Puccini work was infamously booed on its opening night). While the Met has showcased Tosca a whopping 950 times since its {…}
Back in fall 2013, Sondra Radvanovsky sang her first “Norma” at the Met. A few performances later, Angela Meade and Jamie Barton stole the spotlight when they were paired together for the second cast of the opera. Now it is the 2017-18 season and the pattern has continued, with the inclusion of Marina Rebeka for two performances in between. While {…}