For two years following its premiere Shostakovich’s Lady Macbeth of Mtsesnk was one of the most often performed contemporary operas.
Category: Performances
Kate Royal at Wigmore Hall
Soprano Kate Royal is reported to have said that singing at the Wigmore Hall is “like a religious experience”.
Opera Atelier does it as it was
It’s an odd day in opera when the bad girl wins, but that is only one thing that makes the Opera Atelier production of Monteverdi’s Coronation of Poppea remarkable — and admirable.
The End of Bewilderment — The New Florence-Valencia Production of “G?tterd‰mmerung”
April 29th is Zubin Mehta’s birthday. As a gift to its most beloved musical director, Florence unveiled a new production of Gˆtterd‰mmerung, a joint Ring Cycle venture with the Valencia Opera started two years ago.
Donizetti’s “Maria Stuarda” at La Fenice — Two Women in a Labyrinth
From the word “go”, the audience feels that this “Maria Stuarda” is quite different from the standard fare offered by Italian theatres.
Lohengrin at The Royal Opera, London
I first saw this production in Manchester in 1981: I loved it then and love it now, despite the present hero’s un-Heldentenor qualities when compared to the glorious Peter Hoffman of yore.
Don Giovanni at the MET with Peter Mattei
I returned to Don Giovanni firstly because I had never heard Peter Mattei sing, and friends had called him the greatest Don G since Siepi.
Walter Braunfels’s Die Vˆgel at Los Angeles Opera
The Recovered Voices series at Los Angeles Opera, in its second season, springs from James Conlon’s fascination and love for the operas of composers whose lives and/or careers came to an end under the Nazi regime.
Il Piccolo Marat
Try to imagine the scenario: You’re an opera company, giving concert
performances of neglected, indeed forgotten, hundred-year-old scores (no sets, no costumes, at least you don’t have those headaches), and you give young singers a chance to do their stuff once a year before a paying New York crowd actually eager to hear music they do not know, and you’ve lit on a genuine obscurity, even in the ranks of the obscure; Mascagni’s penultimate stage work, a huge success at the premiere (as his operas usually were), utterly forgotten nowadays (as, but for Cavalleria Rusticana and, on rare occasion, L’Amico Fritz, they pretty much are), and it’s never been performed in North America ever.