Stage director Krzysztof Warlikowski offers a happy ending, he hints, to Richard Strauss’ monumental tragedy Elektra at the Salzburg Festival, streamed live at its premiere on August 1 from the Felsenreitscchule at 5 PM Central European Time.
Against all odds the festivals of Salzburg and Rossini’s Pesaro are forging ahead this summer with real, live opera, though the limited programs and scarcity of tickets may discourage us from journeying to Austria or Italy in August. Would that we could!
The most notable of all PÈricholes of Offenbach’s sentimental operetta is surely the legendary Hortense Schneider who created the role back in 1868 at Paris’ ThÈ‚tre des VarietÈs. Alas there is no digital record.
A splendid 1997 provincial production of Tchaikovsky’s take on Pushkin’s Bryonic hero found its way onto a major ProvenÁal stage just now. The historic OpÈra Municipal de Marseille possesses a remarkable acoustic that allowed the Pushkin verses to flow magically through Tchaikovsky’s ebullient score.
AurÈlien Bory, director of a small, avant garde theater company in Toulouse, staged a spellbinding Parsifal at the ThÈ‚tre du Capitole, Toulouse’s famed Orchestre National du Capitole in the pit — FYI the Capitole is Toulouse’s city hall, the opera house is a part of it.
Richard Wagner chose to finish his Good Friday opera while residing in Sicily’s Palermo, partaking of the natural splendors of its famed verdant basin, the Conca d’Oro, and reveling in the golden light of its surreal Monreale cathedral.
Shakespearean sentiments may gracefully enrich Gounod’s Romeo et Juliet, but powerful Baroque tensions enthrall us in the bel canto complexities of Vincenzo Bellini’s I Capuleti e i Montecchi. Conductor Daniele Gatti’s offered a truly fine bel canto evening at Rome’s Teatro dell’Opera introducing a trio of fine young artists.
East German stage director Ralf Pleger promised us a Tristan unlike anything we had ever seen. It was indeed. And Slovakian conductor Jura Val?uha gave us a Tristan as never before heard. All of this just now in the most Wagnerian of all Italian cities — Bologna!?
It’s an opera by Vicentino composer Domenico Freschi that premiered in 1681 at the country home of the son of the doge of Venice. Villa Contarini is a couple of hours on horseback from Vicenza, and a few hours by gondola from Venice).
This Grimm’s fairytale in its operatic version found its way onto the War Memorial stage in the guise of a new “family friendly” production first seen last holiday season at London’s Royal Opera House.