(Photo: Daniel Dittus) Composed at the height of Christoph Willibald Gluck’s operatic reform, “Iphigénie en Tauride” distills classical tragedy into a work of striking emotional clarity and structural restraint. Without the conventional Da Capo arias and secco recitatives, Gluck integrates voice and orchestra to convey psychological depth and moral conflict. The opera’s tension between barbarism and humanity is rendered through {…}
(Photo credit: Vincent Pontet-OnP) A few years ago, when Bieito’s staging of “Simon Boccanegra” premiered at the Paris Opera, the reviews were abysmal. Few things are as catchy in the opera world as negative consensus. I got to see the same production with a very similar cast last weekend, and, somehow, I think it was one of the most emotional {…}
The record industry is at the forefront of modern musicology, digging up the original versions of long-established classics. In recent years, for instance, Opera Rara has paved the way with publications like the 1867 version of “Don Carlos,” “Simon Boccanegra,” and, in 2019, “Le Willis.” The latter marks Puccini’s entrance onto the operatic stage and may reasonably be considered one {…}
Photo: © Monika Rittershaus “Così Fan Tutte” has become the most uncomfortable of the three Mozart-Da Ponte operas. “Le Nozze di Figaro” has secured itself as a revolutionary and anti-establishment opera. “Don Giovanni” is unavoidable and unforgettable. “Così,” on the other hand, struggled to find its public for most of the nineteenth century. Its plot is often seen as both {…}
(Photo: Olivier Metzger) One of the many stars appearing at this summer’s Rossini Opera Festival in Pesaro is the French soprano Julie Fuchs, who is making her festival debut as La Comtesse Adèle in “Le Comte Ory.” Known for her dazzling singing, versatile acting and innate musicality she has wowed audiences in both concert halls and theaters across Europe in {…}
(Credit: Jean-Louis Fernandez) The Festival d’Aix-en-Provence’s production of “Le Nozze di Figaro” was a visual stunner. Keeping up a brisk pace, it positively fizzed and sparkled as it zipped along, and had the audience roaring with laughter at what was a riotously funny presentation, full of color and bawdy humor. Such was the director Lotte de Beer’s skill in handling {…}
This week opera lovers will get to see new releases by up-and-coming singers, a rarely performed opera and not just one but two recordings of the same opera. Here is a look. The Arching Path In a Circle Records releases composer Christopher Cerrone’s latest album, a follow-up to Cerrone’s 2019 GRAMMY-nominated “The Pieces that Fall to Earth.” The new album {…}
Philharmonie Luxembourg has announced its 15th anniversary season. For the purposes of this article, we will focus on vocal performances. The 2019-20 season will kick off with Esa-Pekka Salonen conducting the Philharmonia Orchestra. Soprano Rebecca Nelsen will be featured vocally. The program will include Berg’s “Lulu” Suite and Mahler’s Symphony No. 9. Performance Date: Oct. 3, 2019 William Christie will lead {…}