EMI’s publicity for this studio recording focuses on soprano Angela Gheorghiu and her portrayal of Cio-Cio-San.
Category: Reviews
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.
Bought and Paid-for Magic — Bernstein Tahiti in Munich’s CuvilliËs Theater
There she is, in her inch or two of sarong, floating, floating…Oh, excuse me, where was I?
Mozart: Die Entf¸hrung aus dem Serail
The strategies of non-traditional opera directors are becoming as predictable and formulaic as the stuffy, static traditional productions that they work so hard not to emulate.