Wexford Opera’s 2012 trio of rarities, seen on the opening three nights of the Festival, spanned a mere twenty years but offered operatic idioms ranging from verismo to pantomime, operetta to Wagnerian love-death apotheosis.
Following their 2011 Decca recording of Striggio’s Mass in 40 Parts (1566), I Fagiolini continue their quest to unearth lost treasures of the High Renaissance and early Baroque, with this collection of world-premiere recordings, ‘reconstructions’ and ‘reconstitutions’ of music by Giovanni and Andrea Gabrieli, Monteverdi, Palestrina, and their less well-known compatriots Viadana, Barbarino and Soriano.
Italo Montemezzi’s great “lost” epic opera, La Nave, was heard on 31 October for the first time since 1938, leaving an enthusiastic New York audience wondering why on earth it had been neglected for so long.
Marking Oliver Knussen’s sixtieth birthday came a BBC Total Immersion
weekend at the Barbican: a double-bill of Knussen’s two operas written in
collaboration with Maurice Sendak, Where the Wild Things Are and
Higgledy Piggledy Pop! on Saturday, followed by a day of two chamber
concerts, a film, and an orchestral concert conducted by the composer himself
When tenor Michael Spyres takes the stage at Carnegie Hall on December 5th, he will be in heady company.
After a slow, long period of gestation, commencing with a short dramatization at Reigate Priory in 1906 and spanning more than 40 years, the first performance of Vaughan Williams’ The Pilgrim’s Progress took place at Covent Garden on 26 April 1951, as part of the Festival of Britain.
An intriguing blend of old and new marked the tenth anniversary of the
British vocal group, Exaudi, juxtaposing the adventurous intricacies and
affectations of the late-sixteenth century with the virtuosic refinements of
today’s avant garde.