I greatly enjoyed the premiere of The Dallas Opera’s co-production with Santa Fe Opera of Rimsky-Korsakov’s The Golden Cockerel when it debuted at the latter in the summer festival of 2018.
Month: October 2019
Luisa Miller at Lyric Opera of Chicago
For its second production of the current season Lyric Opera of Chicago is featuring Giuseppe Verdi’s Luisa Miller.
Philip Glass: Music with Changing Parts – European premiere of revised version
Philip Glass has described Music with Changing Parts as a transitional work, its composition falling between earlier pieces like Music in Fifths and Music in Contrary Motion (both written in 1969), Music in Twelve Parts (1971-4) and the opera Einstein on the Beach (1975). Transition might really mean aberrant or from no-man’s land, because performances of it have become rare since the very early 1980s (though it was heard in London in 2005).
Time and Space: Songs by Holst and Vaughan Williams
New from Albion, Time and Space: Songs by Holst and Vaughan Williams, with Mary Bevan, Roderick Williams, William Vann and Jack Liebeck, highlighting the close personal relationship between the two composers.
Wexford Festival Opera 2019
The 68th Wexford Festival Opera, which runs until Sunday 3rd November, is bringing past, present and future together in ways which suggest that the Festival is in good health, and will both blossom creatively and stay true to its roots in the years ahead.
Cenerentola, jazzed to the max
Seattle Opera’s current staging of Cenerentola is mostly fun to watch. It is also a great example of how trying too hard to inflate a smallish work to fill a huge auditorium can make fun seem more like work.
Bottesini’s AlÏ Bab‡ Keeps Them Laughing
On Friday evening October 25, 2019, Opera Southwest opened its 47th season with composer Giovanni Bottesini and librettist Emilio Taddei’s AlÏ Bab‡ in a version reconstructed from the original manuscript score by Conductor Anthony Barrese.
Ovid and Klopstock clash in Jurowski’s Mahler’s ‘Resurrection’
There were two works on this London Philharmonic Orchestra programme given by Vladimir Jurowski – Colin Matthews’s Metamorphosis and Gustav Mahler’s ‘Resurrection’. The way Jurowski played it, however, one might have been forgiven for thinking we were listening to a new work by Mahler, something which may not have been lost on those of us who recalled that Matthews had collaborated with Deryck Cooke on the completion of Mahler’s Tenth Symphony.
Incoming Artistic Director Rosetta Cucchi announces her 2020 programme inspired by William Shakespeare and the launch of the Wexford Factory Academy for young Irish singers
Birtwistle’s The Mask of Orpheus: English National Opera
‘All opera is Orpheus,’ Adorno once declared – although, typically, what he meant by that was rather more complicated than mere quotation would suggest. Perhaps, in some sense, all music in the Western tradition is too – again, so long as we take care, as Harrison Birtwistle always has, never to confuse starkness with over-simplification.