The composers of these overtures — what today we would call suites — range from the world-famous George Frideric Handel to the moderately well-known Reinhard Keiser to the virtually unknown Johann Christian Schieferdecker. The works represented here also cover a range of dates: 1693 for the Ouverture no. 4 by Philipp Heinrich Erlebach to 1726 for the Suite ìLudovicus Piusî by Georg Caspar Sch¸rmann (1672/3-1751), neither of whom have made a noticeable dent in the performance repertoire of todayís early-music groups.
Category: Reviews
DONIZETTI: Pietro il Grande
Pietro il Grande ossia Il falegname di Livonia was premiered to open the 1819-20 Carnival season at the Teatro San Samuele in Venice, a city that saw the birth of many of the light operas of the decade, including quite a few by Rossini. The premiere took place on Dec. 26, 1819.
Das Rheingold
Experienced listeners gain nothing but lose very little when a mediocre, even bad performance of Wagner’s stage works is released on DVD.
BITTOV¡: Elida
First impressions are important. For instance, one expects certain things from Bang on a Can and their four-year-old record label Cantaloupe ñ there are graphics, ideas, names, and especially musical…
Opera Australia Presents Death in Venice
Since opera began, composers have honoured, or pretended to honour, the principle that the music should serve the words, though, in reality, it is done more in the breach than the observance.
Fidelio in Stir
First, you signed the waiver relieving the venue of any liability for your injury or death. Then, you were handed a flashlight and felt the chill in the air – not a typical cold draft but the prickly tingle that comes with unquiet spirits nearby.
The Cambridge Companion to Elgar
Perhaps some Opera Today readers may wonder why a book on Sir Edward Elgar merits reviewing on this particular site. The composer never came near to completing an opera. In…
AUDRAN: La Mascotte
Chances are the world of opera bouffe is somewhat foreign to most listeners. Many may know one or two operettas by Offenbach – La Perichole, perhaps, or La belle Helene and a large number of melodies from various of his works collected for the ballet Gaite parisienne. But this extensive body of works from the last quarter of the nineteenth-century is infrequently performed, and, apart from the occasional aria heard on an inventively programmed recital, the repertory today is heard about more than it is heard. The names Audran or Lecoq are largely unknown, despite their having been very popular in this country at the end of the nineteenth century. (Maurice Grau brought many French productions to New York during the 1870s and 1880s, and the operettas, sung in French, were quite popular. Productions in the original language allowed the retention of the racy dialogue and numerous double entendres – most of which would have been unacceptable in English — so typical of these works.)
RABAUD: Marouf, Savetier du Caire
Like many of the nearly forgotten composers of his era, Henri Rabaud (1873-1949) had his day in the sun. A pupil of Massenet at the Paris Conservatoire, and later its director, Rabaud wrote eight operas, the most successful of which was Marouf, Savetier du Caire, which premiered in 1914 at the Opera-Comique in Paris and soon became a world wide hit. But today a mention of Rabaud’s name will likely draw a blank stare, even from well versed opera aficionados.
ALALEONA: Mirra
I had never heard of the Italian composer Domenico Alaleona (1891-1928) when a recording of his opera Mirra arrived in the mail. Baker’s gives him a respectable 22 lines, but says “his importance lies in his theoretical writings,” not this opera or various collections of songs, instrumental works, and a Requiem. If you’ve ever come across the term “dodecaphony,” well, Alaleona coined it (in Italian, of course).