Category: Performances

The good news (make that “great news”) is that conductor Dennis Russell Davies had total command over this ever-shifting composition, one minute lyrical and introspective, the next soaring and rhapsodic, the next percussive and agitated.

In recent years it’s the headgear of the ice-hearted princess that is often the major source of awe and excitement in productions of Puccini’s incomplete final opera.

Joanot Martorell’s 1490 “Tirant lo Blanc” isn’t on anyone’s reading list these days, and that’s rather a shame, for it — the first Catalan novel — was a favorite book of Miguel de Cervantes.

Munich in 1781 was hardly the big city, not an enlightened Paris where Gluck had recently turned the opera world on its ear, not a European capital like Vienna where Italian operatic imperialism was unassailable.

“One can easily imagine — Berkeley professor Donald J. Grout wrote in 1979 — a Scarlatti oratorio occasionally being sung in church or in concert […], but it is more difficult (though perhaps not quite impossible) to imagine a Scarlatti opera being staged at a modern opera house”.

In this new staging of Handel’s comic rarity for English National Opera, director Christopher Alden has chosen to tell the classical tale of amorous and political intrigue through the world of the artistic elite of the 1920s/30s.

Staging La traviata for an opera company these days is an experience akin to that of a symphony’s orchestra programming Mozart: a great idea fraught with disaster.

We ought to consider – as opera’s current reigning soprano, Karita Mattila, has certainly considered, though I’m not so sure about director J¸rgen Flimm – who, what, and how old Salome is.

It probably wasn’t intended as a symbol of anything in particular, but at the end of Act II, midway through the October 6 performance of La Gioconda, Enzo’s ship failed to burst into flames, thereby letting the curtain down most unsatisfactorily on what is usually one of the liveliest act finales in grand opera.

By the time he completed Le Roi d’Ys, in 1888, Edouard Lalo was sixty-five, approaching the end of a successful career as a chamber violinist.