Ringheads, rejoice! The end of the world is nigh.
So, for that matter, are the flying Valkyries, swimming Rhinemaidens, spinning Norns, fearless heroes, empowered heroines and all the other mythic characters that make Richard Wagner’s “Der Ring des Nibelungen” (“The Ring of the Nibelung”) the greatest, most monumental fairy tale ever composed.
Chicago’s Ring
Offenbach’s Whittington
Here is a splendid curiosity – a three-act operetta by Offenbach, written as the 1874 Christmas panto blockbuster for the famous Alhambra Theatre in Leicester Square and never subsequently staged in its original form. All credit to the tirelessly exploratory semi-professional University College Opera for its worthwhile revival.
Mozart’s C Minor Mass Reconstructed
“Die spart (Partitur, Anm.) von der hälfte einer Messe, welche noch in der besten hoffnung da liegt”, erwähnt Mozart 1783 in einem Brief an seinen Vater. Bei der Hoffnung sollte es bleiben: Sein rätselhaftes Gelöbnis, die c-Moll-Messe zu vollenden, hat Mozart nicht gehalten. Das ehrgeizige Projekt einer umfangreichen Kantatenmesse im Stile von Bachs Schwesterwerk in h-Moll blieb ein Torso. Nur Kyrie, Gloria, Sanctus und Benedictus hat Mozart abgeschlossen, nicht alles davon ist jedoch in zweifelsfreier Form erhalten. Vom zentralen Credo existieren gar nur zwei Sätze, noch dazu voller offensichtlicher Instrumentationslücken.
Surprises at Wigmore Hall
Susan Bullock is widely regarded as the finest dramatic soprano to have emerged in the UK for some years. She is an exceptional Wagnerian and many would question why she is not singing Brünnhilde in one of the Rings-in-progress at Covent Garden or English National Opera, particularly since she is already established as an interpreter of the role abroad.
Leaving the “Audience Clamoring for More”
Handel had his troubles with sopranos as people. There’s a story that he once grew so enraged he tried to throw one of his divas out the window. On the other hand, no composer has written more knowledgeably and lovingly for the soprano voice than Handel did.
A Long Night at the Royal Danish Opera
For a New Yorker accustomed to watching the madcap dash to the exits that typically ensues as soon as a performance ends at the Metropolitan Opera, the relaxed pace and genteel protocols of opera-going in Copenhagen were a balm.
Rape of Lucretia
NO BETTER time than Easter to plead the cause of Benjamin Britten’s chamber opera. Forged in the same white fire of creative energy as Peter Grimes, Lucretia can remain problematic because of the apparent moralising of the framing Chorus. But watching this play of passion in a week of Passions certainly put things into context.
The Independent Interviews Angela Gheorghiu
“If Puccini were alive today, I’d be in love with him. I am sure of it. He knew how to write for sopranos: he really loved them,” says Angela Gheorghiu. And this soprano knows Puccini’s heroines well, having most of them in her repertoire or in her plans. On her latest CD, a handsomely packaged set from EMI, she steps into the shoes of all his major soprano characters, with the exception of the adulterous Giorgetta in Puccini’s most impressionistic score, Il Tabarro.
A Delicate Drama at Merkin Hall
When opera singers reach a certain level of fame and stature, they almost invariably express the desire to present song recitals as well. Often the problem is that they have little training in this specialized art and too much practice in their own stylistic niche. As a result, many highly publicized evenings at Carnegie or Alice Tully turn out to be woeful disappointments, proving only the lack of adaptability of many of our best singers.
Deborah Voigt: The Comeback Kid
When the soprano Deborah Voigt was dropped from a Covent Garden production of Strauss’s Ariadne auf Naxos last year she claimed it was her inability to fit into a sleek black dress that prompted her dismissal.