Fiona Shaw’s new production of Massenet’s Cendrillon (1899) for this year’s Glyndebourne Tour makes one feel that the annual Christmas treat at the ballet or the panto has come one month early.
Stravinsky’s The Rake’s Progress is not, in many ways, a progressive opera; it doesn’t seek to radicalise, or even transform, opera and yet it is indisputably one of the great twentieth-century operas.
Gian Carlo Menotti’s much-loved Christmas opera, Amahl and the Night Visitors was commissioned in America by the National Broadcasting Company and was broadcast in 1951 – the first-ever opera composed specifically for television. Menotti said that it “is an opera for children because it tries to recapture my own childhood”.
Precisely where and when CosÏ fan tutte takes place should be a matter of sublime indifference – or at least of individual taste. It is ‘about’ many things, but eighteenth-century Naples – should that actually be the less exotic yet still ‘othered’ ne?polis of Wiener Neustadt? – is not among them.
‘He has clothed his attitude in fine words: but he has taken the sentimental attitude.’ So, wrote fellow war poet Charles Hamilton Sorley of the last sonnets of Rupert Brooke.
November 5, 2018, Los Angeles, CA: Today, King’s College Cambridge announces the launch of the College as a curator on Apple Music.
Sir Antonio Pappano, Music Director of the Royal Opera House, has confirmed that he will remain in position until at least the end of the 2022/23 Season.
‘Can engaging with contemporary social issues save the opera?’ asked M. Sophia Newman last week, on the website, News City, noting that many commentators believe that ‘public interest in stuffy, intimidating, expensive opera is inevitably dwindling’, and that ‘several recent opera productions suggest that interest in a new kind of urban, less formally-staged, socially-engaged opera is emerging and drawing in new audiences to the centuries-old art form’.
Johann Theile, Crato B¸tner, Franz Tunder, Christian Ritter, Giovanni Felice Sances … such names do not loom large in the annals of musical historiography. But, these and other little-known seventeenth-century composers took their place alongside Bach and Biber, Sch¸tz and Monteverdi during L’Arpeggiata’s most recent exploration of musical cross-influences and connections.