Giuseppe Verdi and his librettist, Salvatore Cammarano, based the opera on Antonio GarcÌa GutiÈrrez’s Spanish play El Trovador.
George Benjamin’s Written on Skin sinks deeply into the psyche. A Protector wants brightly coloured images to display his power and wealth.
Jean-Baptiste Lully’s Phaeton is rarely heard live in Britain, so this performance with a superlative cast was a special occasion. It was part of the Barbican Hall’s continuing series of baroque, and particularly French baroque operas.
ENO’s advertising emphasises the ‘25th anniversary year’ of Jonathan Miller’s staging of The Barber of Seville. It holds the stage well enough without offering any especial insight — at least by now.
This prioduction of Wagner’s Parsifal, directed by FranÁois Girard, premiered in Lyons last year. The Met, being a far wealthier house, was able to assemble a truly spectacular cast: Jonas Kaufmann, RenÈ Pape, Katarina Dalayman, Peter Mattei and Evgeny Nikitin. Success guaranteed, even if the production is European and modern. These performances set new benchmarks. This Parsifal will be the stuff of legend for decades to come.
Palm Beach audiences are famous for their glamour, but in recent years a special star has sparkled amid the jewels, sequins, feathers and furs (whatever the weather).
Puccini’s “shabby little shocker”, to quote Kerman, does not invite subtlety. For those who feel that opera — a hybrid art form encompassing all the arts and embracing all of life and love, transfiguration and tragedy — is ideally suited to depicting the excesses of human ecstasy and suffering, Tosca epitomises the immoderations of the genre.
Argentinean mezzo-soprano Bernarda Fink continued her series residency at the Wigmore Hall with an unusual programme of Italian baroque works, partnered by the Academy of Ancient Music, led by violinist Rodolfo Richter.
When the soprano Jessica Pratt first arrived in Italy, she had yet to learn the language or sing in a staged opera.
Samson and Delilah is the only opera by Camille Saint-Saens that is
still regularly performed. He had written two previous operas and would write
several more, along with a long list of instrumental pieces including The
Carnival of the Animals.