Wagner’s Flying Dutchman returns to the Royal Opera House, London.
In this appealing lunchtime recital programme, Croatian soprano Renata Pokupić demonstrated a rich, varied tonal palette and strong communicative skills as she spanned one hundred years of European song.
‘Erotic oratorio’ is the odd-sounding definition devised by modern scholars, such as Howard E. Smither, for those pious music dramas employing sex-laden plots from the Bible, the Apocrypha or the lives of Saints in order to give the audience moral instruction in a quasi-operatic, if generally unstaged, form.
‘Requiescant in pace. Amen.’
Should I wait until the end of this review to tell you how much fun, how much of a theatrical whoopee cushion Robert Wilson’s production of Die Dreigroschenoper has been at BAM last week?
Recorded between 24 and 27 October 2008 at the Philhamonie in Berlin, this release offers the dynamism of a concert performance with the sound quality associated with EMI’s fine recordings.
Some opera masterworks are admirable more than lovable — a distinction usually best revealed by the number of performances the work gets.
One way of thinking about La Traviata is to consider it as a portrayal of bubble wealth that makes artistic capital from the shimmering, rainbow hues of the surface rather than showing any interest in what sustains the bubble.
Following Lorin Maazel’s lifeless first movement from Mahler’s Tenth Symphony