With the trials and tribulations of a multicultural society currently at the forefront of the British media, Gavin Quinnís production placed a light-hearted focus on the bizarreness of a group of foreigners being thrown together in an unfamiliar situation.
This 2005 production of the Mozart-Da Ponte masterpiece Don Giovanni makes for a frustrating experience.
London is fortunate to have played host to several productions of Tchaikovskyís best-known opera in the last three years alone, most recently British Youth Operaís heartbreakingly fresh account last September ñ so it was a risky decision on ETOís part to stage yet another.
When Matilde di Shabran was premiered in Rome on Feb. 24, 1821, it was billed as a
“melodrama giocoso” (which is the equivalent of an opera semiseria), somewhere between an opera buffa and an opera seria in character.
Asked in an interview by Opera News on his opinion on updating, James Levine replied that it often intensified one or another aspect of the story but that in general it was not possible to update without distorting the story and the equilibrium in the whole opera.
Our modern sense of the eighteenth-century Lutheran cantata derives in large part from the works of J. S. Bach—works that have been foundational in the early music movement, works that have much shaped our understanding of Bach, and works that we now know in an impressive array of different recordings.
I am surely not the only one who doesn’t understand why this sparkling score is not performed