At the festival of Aix-en-Provence, now in its sixty-first year, the final installment of Wagner’s “Ring,” with Simon Rattle and the Berlin Philharmonic, has hogged the spotlight.
‘I never left a theatre more contented, and all night I dreamed of The Creation of the world.’ — the view of one of those at the first performance of The Creation in 1799.
A roster of exciting young artists supported by the Concertgebouw Orchestra
in the pit, ensured that Amsterdam’s Carmen worked its
Readers may recognize the author of this book, David J. Buch, a specialist on the origins of the libretto to Mozart’s Magic Flute.
Marcello Giordani, at present singing a generally highly praised Cavaradossi at the Royal Opera House in London, is the leading exponent of the great Italian and French tenor roles at the Metropolitan Opera, and the man whom James Levine describes as ‘my favorite tenor.’ This prominence has been arrived at after a steady rise to fame: he will celebrate the 25th year of his career in the 2010-11 season.
Music-masters, singing lessons and serenading bands all abound in
Rossini’s comic masterpiece, Il Barbiere di Sivilglia, but at
this performance it was the medical rather than the musical puns which drew the