(Credit: Marty Sohl / Metropolitan Opera) On Nov. 12, the Metropolitan Opera revived its production of Puccini’s “Tosca” to celebrate 100 years of the composer’s death. It was the second cast in the season following an acclaimed turn from Aleksandra Kurzak in September. For this evening, the Met put its hopes on what, on paper, looked like an all-star cast {…}
(Photo ©2024 Camilla Greenwell) In a recent interview with director Damiano Michieletto at the Venice production of “The Tales of Hoffmann,” he said: “At its heart it is a journey into fantasy. It is opera fantastique, after all!” One definition of the French word fantastique is: a term for a literary and cinematic genre and mode that is characterized by {…}
(Photo: Pádraig Grant) Each year the Wexford Factory, the festival’s young artist program, produces an opera for the main stage, allowing its participants to gain experience in major roles as well as providing them with the opportunity to play smaller roles in the company’s headline productions. In previous year’s, the Factory’s productions have included successful performances of operas such as {…}
Rachel Fenlon’s “Winterreise” is quite extraordinary for many reasons. First, Schubert’s famously melancholy cycle was originally written for tenor, and though frequently transcribed for baritonal depths or even bass, its interpretation history remains confined largely to male voices. Secondly, Fenlon achieves a high degree of German Innerlichkeit, that somewhat obscure, culturally rooted feeling of inward expressiveness which so pervaded the {…}
Soprano Sondra Radvanovsky and tenor Piotr Beczala presented their recital on November 3rd (which is touring worldwide) at the Teatro Real. Before the beginning, there was a one-minute standing of silence in sympathy to the victims in the aftermath of the storm Dana which destroyed several locations in the Valencia area (in the name of all the artistic and technical {…}
(Photo: Ros Kavanagh) (WARNING: This review features explicit language.) Irish National Opera recently completed its tour of a pairing of operas by the exciting Irish composer Emma O’Halloran and librettist and playwright, Mark O’Halloran. Both works contain intimate psychological portraits of characters who find themselves in emotionally difficult situations. The first, entitled “Mary Motorhead,” focuses on a young woman jailed {…}
(Photo: Padraig Grant) To mark the hundredth anniversary of the death of Giacomo Puccini, the Wexford Festival Opera commissioned William Niall Morris to create a short work celebrating the composer’s life and music. The result was a short piece, lasting about an hour, entitled “Puccini: Man of the Theatre,” which essentially amounted to a selection of his greatest hits linked {…}
(Photo by Todd Rosenberg Photography) Lyric Opera of Chicago’s first season without erstwhile General Director Anthony Freud began as his last concluded: with Verdi. Lyric opened 2024-25 and John Mangum’s tenure far more successfully than last season’s dispiriting staging of “Aida,” with Verdi’s indestructible mid-career masterpiece “Rigoletto.” On opening nights, Lyric usually mounts either a new production or one new-to-Chicago, {…}
(Photo: Cory Weaver / San Francisco Opera) We need Beethoven. Especially the 9th Symphony with Schiller’s Ode to Joy. “Freude, schöner Götterfunken/Tochter aus Elysium,/Wir betreten feuertrunken,Himmlische/, dein HeiligtumFreude menschen gotterfunken./Oh friends, no more of these sounds!/Let us sing more cheerful songs, More full of joy!/Joy, bright spark of divinity,/Daughter of Elysium,/Fire-inspired we tread Thy sanctuary!/Thy magic power reunites/All that custom {…}