The Aix Festival was known not so very long ago for pretentious productions. Perhaps now it will become known for good productions.
Category: Performances
Handel’s Serse (Xerxes) at Iford Manor
Something rather extraordinary happened to opera seria in 1738. The
acknowledged master of that time, London’s George Frideric Handel,
presented two new operas at the King’s Theatre: Faramondo and
Serse.
Three Decembers at Central City
CENTRAL CITY — The story is banal: a single mother, an aging actress,
is alienated from her grown-up children.
A Magnificent Don Giovanni at Glyndebourne
Don Giovanni isn’t new and most of the cast at Glyndebourne (led by Gerald Finley) are familiar.
Semele, Paris
The Parisian press was plastered with photos of Daniele de Niese. The
glamorous 31-year old Sri Lankan-Australian mega-star is everywhere these days:
a new TV series (“Diva Diaries”), a Decca greatest hits CD
(“Diva”), and, with her marriage to Guy Christie of the
Glyndebourne ruling clan, a secure position as the first lady of English opera.
Terfel’s Towering Hans Sachs Debuts at WNO
We have Welsh National Opera to thank not only for providing the occasion for an auspicious role debut, but also for showcasing their world star in a wholly brilliant new production of Die Meistersinger von N¸rnberg.
La Traviata, Royal Opera
This was my first Verdi performance in the theatre for thirteen years or so I must have been the least jaded of critics for the opening night of the revival of Sir Richard Eyre’s La Traviata.
Salome, London
David McVicar’s production of Salome received its first revival at Covent Garden, though McVicar left its revival in the capable hands of Justin Way.
Out in a blaze of glory — Garsington, A Midsummer Night’s Dream
Garsington Opera is moving to Wormsley Park. in 2011, but it marked its last production at Garsington Manor with a glorious coda, that augurs well for the future. As a friend remarked “We’ll be talking about this for years to come”.
Central City stages Butterfly with a bite
CENTRAL CITY — No matter how much verismo you heap onto Madama
Butterfly, the opera — the favorite of American companies —
remains a threadbare — if tragic — tale of a love that failed.