(Photo: Zani-Casadio) Is it a wise decision to perform two independent works by the same composer on consecutive nights, using a very similar cast, the same stage director, the same basic set, similar or in some cases the same costumes with the same musical director and orchestra? Well, this is exactly what the Ravenna Festival decided to do for its stagings {…}
In December, Tafelmusik will present Händel’s “Messiah” at Koerner Hall and the exuberant Sing-Along Messiah at Massey Hall. The Messiah will be held on Dec. 18 through 20 and will feature Krisztina Szabó, Nicholas Scott, and Jonathan Woody. Ivars Taurins will conduct the Tafelmusik Chamber Choir and Tafelmusik Baroque Orchestra. The four soloists will repeat for the sing along on Dec. {…}
(Photo: BrettBoardman) Undoubtedly, Sydney is coming of age as a culturally vibrant city, with thought-provoking, often superior productions of concerts, musicals, plays and operas. This long-awaited but most welcomed process is well illustrated by two excellent opera performances within less than a week that would be hailed anywhere in the world: a few days after Richard Wagner’s “Die Walküre” had {…}
(Photo Credits: H. Paul Moon) Performed among the foliage and resplendences of Campos Community Garden in New York City, one of a myriad of analogous respites, sanctuaries if you will, from the tyranny of cement and metal, the monotonous timbres and assaults of the urban soundscape, and the droning apathy and cold banality of inner-city dwelling, the caressing melodiousness of {…}
(Credit: © Marc Brenner/Royal Opera House) In “Alcina” seeing isn’t believing. Handel’s tale of an enchanted island, which sees the titular sorceress’ captives transfigured into birds, beasts, and shrubbery, speaks of the pleasures and dangers of illusion. First premiered on the current site of the Royal Opera House back in 1735, the opera speaks to a host of 18th-century preoccupations {…}
(Credit: © Camilla Greenwell, ROH 2022) A much-publicized intimacy director; bold text warnings about sexual violence and “terrorist themes.” There was a certain gung-ho mood amongst the audience going into Katie Mitchell’s new production of Handel’s tragic oratorio “Theodora” at the Royal Opera House this week. The first performance of the work in Covent Garden for 272 years, in fact. {…}
(Credit: Dimitri Bourriau) The Théâtre du Châtelet in Paris has announced the cancellation of the production of Händel’s “Messiah” that was on the repertoire between Jan 19 – 29, 2022. “Sanitary constraints lead us to cancel the performances of the ‘Messiah’,” said the opera house in an official statement. “More than 200 people, artists and staff, are directly involved every {…}
On December 20, 2021, the Oratorio Society of New York returned to Carnegie Hall for its annual performance of Händel’s “Messiah,” a tradition which the organization has kept since 1847. The evening’s concert, dedicated to the memory of company artist and board member Marie Gangemi, was comprised of the first part of the oratorio, with selections from Parts II and {…}
(Photo: Gianpaolo Parodi) In 1708 Händel wrote “Aci, Galatea and Polifemo,” a serenata for three voices, as part of the celebrations to mark the marriage of Beatrice Tocco di Montemiletto and Duke D’Alvito Tolomeo III. Its narrative, taken from Ovid’s “Metamorphoses,” relates how the love between the shepherd Aci and the nymph Galatea enrages the cyclops Polifemo, who in a {…}
(Photo: Ralf Münch) The recently restored Stadtkirche was chosen as the venue for the festival’s performance of Handel’s 1647 oratorio “Judas Maccabaeus.” Situated in the historical center, it is the city’s largest church, built in the late gothic style between 1611 and 1614. It is dominated by its two imposing domed towers which are connected by a bridge. It is {…}
(Photo: Alciro Theodore da Silva) The relationship of art to society is a complex and ever-changing one. At times it is used to support the dominant values of the elite as was the case with the 17th and 18th century baroque, whilst during other periods, it sets itself up in opposition to society, underpinned by varying degrees of revolutionary intent. {…}