![<em>Medea</em> by Anthony Frederick Augustus Sandys (painted 1866-68) [Source: Wikipedia]](http://www.operatoday.com/Medea-Sandys.png)
04 Nov 2019
Giovanni Pacini: Medea
Medea: Melodramma tragico in three acts. »
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Elsewhere
Sarah Wegener sings Strauss and Jurowski’s shattering Mahler
A little under a month ago, I reflected on Vladimir Jurowski’s tempi in Mahler’s ‘Resurrection’. That willingness to range between extremes, often within the same work, was a very striking feature of this second concert, which also fielded a Mahler symphony - this time the Fifth. But we also had a Wagner prelude and Strauss songs to leave some of us scratching our heads.
Manon Lescaut in San Francisco
Of the San Francisco Opera Manon Lescauts (in past seasons Leontyne Price, Mirella Freni, Karita Mattila among others, all in their full maturity) the latest is Armenian born Parisian finished soprano Lianna Haroutounian in her role debut. And Mme. Haroutounian is surely the finest of them all.
A lukewarm performance of Berlioz’s Roméo et Juliette from the LSO and Tilson Thomas
A double celebration was the occasion for a packed house at the Barbican: the 150th anniversary of Berlioz’s birth, alongside Michael Tilson Thomas’s fifty-year association with the London Symphony Orchestra.
Mahler’s Third Symphony launches Prague Symphony Orchestra's UK tour
The Anvil in Basingstoke was the first location for a strenuous seven-concert UK tour by the Prague Symphony Orchestra - a venue-hopping trip, criss-crossing the country from Hampshire to Wales, with four northern cities and a pit-stop in London spliced between Edinburgh and Nottingham.
From Darkness into Light: Antoine Brumel’s Complete Lamentations of Jeremiah for Good Friday
As a musicologist, particularly when working in the field of historical documents, one is always hoping to discover that unknown score, letter, household account book - even a shopping list or scribbled memo - which will reveal much about the composition, performance or context of a musical work which might otherwise remain embedded within or behind the inscrutable walls of the past.
Rigoletto past, present and future: a muddled production by Christiane Lutz for Glyndebourne Touring Opera
Charlie Chaplin was a master of slapstick whose rag-to-riches story - from workhouse-resident clog dancer to Hollywood legend with a salary to match his status - was as compelling as the physical comedy that he learned as a member of Fred Karno’s renowned troupe.
Rinaldo Through the Looking-Glass: Glyndebourne Touring Opera in Canterbury
Robert Carsen’s production of Rinaldo, first seen at Glyndebourne in 2011, gives a whole new meaning to the phrases ‘school-boy crush’ and ‘behind the bike-sheds’.
Predatory power and privilege in WNO's Rigoletto at the Birmingham Hippodrome
At a party hosted by a corrupt and dissolute political leader, wealthy patriarchal predators bask in excess, prowling the room on the hunt for female prey who seem all too eager to trade their sexual favours for the promise of power and patronage. ‘Questa o quella?’ the narcissistic host sings, (this one or that one?), indifferent to which woman he will bed that evening, assured of impunity.
Virginie Verrez captivates in WNO's Carmen at the Birmingham Hippodrome
Jo Davies’ new production of Carmen for Welsh National Opera presents not the exotic Orientalism of nineteenth-century France, nor a tale of the racial ‘Other’, feared and fantasised in equal measure by those whose native land she has infiltrated.
Die Zauberflöte brings mixed delights at the Royal Opera House
When did anyone leave a performance of Mozart’s Singspiel without some serious head scratching?
Soprano Eleanor Dennis performs Beethoven and Schubert at the 2019 Highgate International Chamber Music Festival
When soprano Eleanor Dennis was asked - by Ashok Klouda, one of the founders and co-directors of the Highgate International Chamber Music Festival - to perform some of Beethoven’s Scottish Songs Op.108 at this year’s Festival, as she leafed through the score to make her selection the first thing that struck her was the beauty of the poetry.
Haydn's La fedeltà premiata impresses at the Guildhall School of Music & Drama
‘Exit, pursued by an octopus.’ The London Underground insignia in the centre of the curtain-drop at the Guildhall School of Music & Drama’s Silk Street Theatre, advised patrons arriving for the performance of Joseph Haydn’s La fedeltà premiata (Fidelity Rewarded, 1780) that their Tube journey had terminated in ‘Arcadia’ - though this was not the pastoral idyll of Polixenes’ Bohemia but a parody of paradise more notable for its amatory anarchy than any utopian harmony.
Giovanni Pacini: Medea
Medea: Melodramma tragico in three acts.
Van Zweden conducts an unforgettable Walküre at the Concertgebouw
When native son Jaap van Zweden conducts in Amsterdam the house sells out in advance and expectations are high. Last Saturday, he returned to conduct another Wagner opera in the NTR ZaterdagMatinee series. The Concertgebouw audience was already cheering the maestro loudly before anyone had played a single note. By the end of this concert version of Die Walküre, the promise implicit in the enthusiastic greeting had been fulfilled. This second installment of Wagner’s The Ring of the Nibelung was truly memorable, and not just because of Van Zweden’s imprint.
Purcell for our time: Gabrieli Consort & Players at St John's Smith Square
Passing the competing Union and EU flags on College Green beside the Palace of Westminster on my way to St John’s Smith Square, where Paul McCreesh’s Gabrieli Consort & Players were to perform Henry Purcell’s 1691 'dramatic opera' King Arthur, the parallels between England now and England then were all too evident.
The Dallas Opera Cockerel: It’s All Golden
I greatly enjoyed the premiere of The Dallas Opera’s co-production with Santa Fe Opera of Rimsky-Korsakov’s The Golden Cockerel when it debuted at the latter in the summer festival of 2018.
Luisa Miller at Lyric Opera of Chicago
For its second production of the current season Lyric Opera of Chicago is featuring Giuseppe Verdi’s Luisa Miller.
Philip Glass: Music with Changing Parts - European premiere of revised version
Philip Glass has described Music with Changing Parts as a transitional work, its composition falling between earlier pieces like Music in Fifths and Music in Contrary Motion (both written in 1969), Music in Twelve Parts (1971-4) and the opera Einstein on the Beach (1975). Transition might really mean aberrant or from no-man’s land, because performances of it have become rare since the very early 1980s (though it was heard in London in 2005).
Time and Space: Songs by Holst and Vaughan Williams
New from Albion, Time and Space: Songs by Holst and Vaughan Williams, with Mary Bevan, Roderick Williams, William Vann and Jack Liebeck, highlighting the close personal relationship between the two composers.
Wexford Festival Opera 2019
The 68th Wexford Festival Opera, which runs until Sunday 3rd November, is bringing past, present and future together in ways which suggest that the Festival is in good health, and will both blossom creatively and stay true to its roots in the years ahead.