Palm Beach Opera opened its new season with the opera that began it all, La Traviata.
For the first of her two February recitals at the Wigmore Hall, the
Argentinean mezzo-soprano Bernarda Fink was joined by the Hugo Wolf Quartett in
an eclectic, Italian-themed programme in which singer and instrumentalists
sculpted diverse and beautiful musical vistas and communicated a remarkably
coherent, shared vision.
This concert was part of a greater weekend of concerts at the Southbank
Centre looking at Paris during the second and third decades of the twentieth
century, the weekend itself part of the year-long Rest is Noise
Joyce DiDonato brought her Drama Queens tour to the Barbican Hall last night, 6 February 2012. Accompanied by Il Complesso Barocco, directed by Dmitry Sinkovsky, she enabled us to hear a wide range of arias by mainly Italian baroque composers from Monteverdi to Handel, by way of Porta, Cesti, Orlandini and Hasse.
The fearsome Ottoman Turks had threatened the Austrian borders for centuries. But Mozart’s little singspiel makes light of this truly serious situation, and offers a quite enlightened resolution for the conflict as well.
Boasting one of France’s grandest opera houses (said to be the model for Paris’ OpÈra Garnier) Toulon hosts a season of five operas — Aida, Butterfly and Flute are hand in hand with Carmen and, yes, Dialogues des carmÈlites.
Kasper Holten’s directorial debut in the Royal Opera House begins with
Amsterdam enjoys a rare visit from Moscow’s Stanislavski Opera at the landmark Koninklijk Carre Theater, for three performances of Tchaikovski’s Eugene Onegin and a Sunday morning opera concert, on February 1st-3rd.
Born to a very poor family in 1797, Gaetano Donizetti was lucky enough to become the pupil of Johann Simone Mayr, the Maestro di Capella of his native city, who recognized his talent and made sure he received appropriate instruction.