Why — they always ask — why — present
Les Huguenots?
Category: Reviews
Vivaldi: La fida ninfa
Although Antonio Vivaldi’s instrumental compositions were highly popular in his lifetime, and have been held in high regard throughout the centuries, most of his operas have been — until recently — relegated to obscurity.
Puccini: Madama Butterfly
EMI’s publicity for this studio recording focuses on soprano Angela Gheorghiu and her portrayal of Cio-Cio-San.
Paris: King Roger Goes Hollywood
Paris Opera seems to posit the question: Does anyone completely understand what Karol Szymanowski’s King Roger is about?
Donizetti: Lucrezia Borgia
Of Donizetti’s 55 operas, four to five hold on to secure places in the repertory, a much greater number are all but unknown, and in the middle come the titles that see occasional revivals, as flawed but fascinating rarities.
Verdi: La Forza del Destino
This looks like a winner, with an esteemed conductor (Zubin Mehta), top-rank cast (Violeta Urmana, Marcello Giordani, Carlo Guelfi), and a production directed by Nicholas JoÎl that originated at the Opernhaus Z¸rich, a house that takes some chances and scores some successes.
‘Opera Noir’ Entertains at Santa Fe
Can a famously successful movie be made into an effective opera? A
quick answer is: yes!
Schubert bounces along at Wigmore Hall
The performance of lieder is a partnership between singer and pianist. In May I heard Julius Drake redeem an indifferent recital by the sheer beauty of his playing. I’ve been listening to him for more than 15 years. He’s a favorite. So I was completely taken by surprise by this recital
Busoni: Doktor Faust
The legacy of Ferruccio Busoni (1866-1924) includes some notable compositions, and among them is his unique setting of the Faust story.
An Evening at PËre Lachaise [Or, Natalie Dessay Attempts Violetta]
A fine-sounding Santa Fe Opera orchestra, excellently conducted by FrÈdÈric
Chaslin, was barely into the haunting, delicate prelude to Act I of La
traviata, when a funeral procession, wet umbrellas unfurled, arrived to
wend its way though a stage full of big grey marble rectangular boxes,
handsomely abstracted tomb shapes, soon to be the courtesan Violetta
ValÈry’s destination. So much for the Prelude to Act I.