During his career in film, opera, and operetta, Richard Tauber (1891 – 1948) enjoyed the sort of global fame that eludes all but the tiniest handful of ‘serious’ singers today.
By the end of the first act, I was convinced that, barring a catastrophe of, well, Gˆtterd‰mmerung-like proportions, this would now turn out to be the greatest Ring since Bernard Haitink’s 1998 Royal Opera performances— also semi-staged, also at the Royal Albert Hall.
For those whose Wagnerian thirst had not yet been quenched by three parts of the Ring, the Proms now offered Tristan und Isolde.
The brightest star in this performance proved once again to be the Staatskapelle Berlin, under Daniel Barenboim’s guidance.
When faced with the illustrious Winterreises of the past and the renowned, and often highly original, interpretations of present-day performers, how is a tenor to approach Schubert’s setting of Wilhelm M¸ller’s pessimistic exploration of a mind spinning into disillusion and despair?
One can only imagine the small-ad: “exquisite small italianate water garden wishes to meet pastoral “little opera” in intimate setting, small cast and orchestra ideal, with music of delightful poise and accessibility.
Don Giovanni — the coup de coeur. Elektra — a masterpiece. Rigoletto — a hit and a miss.
The superstitious would have us believe that it is better not to build up expectations, lest they be confounded.
This zany production of Verdi’s only comic opera before ‘Falstaff’ keeps the singers in chaos and the audience in stitches
That’s Helen (of Troy) by Cavalli, so maybe you are interested after all, though the more engaging experience was The House Taken Over by Vasco MendonÁa.