Category: Performances

Today’s general public labors under the unfortunate misconception that in order to enjoy opera, one needs to be educated and at ease with mobility in social circles largely consisting of decrepit old rich people.

For its seventh program of the Summer 2011 season the Grant Park Music Festival presented concert ensembles performed by members of the Ryan Opera Center of Lyric Opera of Chicago.

For opera lovers who are serious enough to even think of a performing career, the path is an arduous one.

Brahms’s Violin Concerto and Mahler’s Das klagende Lied
did not seem to be the most obvious bedfellows — there has been some
rather peculiar programming at this year’s Proms — and even after
further consideration, the only real connection I could muster was that they
were written at the same time: the concerto in 1878, the cantata between 1878
and 1880.

In the waning days of the annual summer festival, Munich’s Bavarian State Opera fielded enough star power to fire up a minor galaxy with its wholly absorbing production of I Capuleti e i Montecchi.

How the saga of Italian unification in 1861 is being (half-heartedly) celebrated by opera composers.

From the bombastic sweeps of Richard Strauss’ Don Juan, to the
blissful rhapsodies of Walton’s Violin Concerto, and through the rhythmic
surges of Prokofiev’s choral manifesto of socialist realism, conductor Andris
Nelsons fizzed — indeed, almost exploded with energy and zest — and
inspired clarity, control and freshness from the City of Birmingham Symphony
Orchestra, on this their only visit to the Proms this season.

In the modern operatic world, respect for the oeuvre of any given composer, as well as his stylistic development and placement in operatic history, is sacrosanct.