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Fisher Center, Bard College, Fall Events 2014
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Archive for the ‘Opera’ Category

Opera sub categories : Wagner and At the Bayreuth Festival

Thumbnail : John Adams, The Death of Klinghoffer at the Metropolitan Opera

John Adams, The Death of Klinghoffer at the Metropolitan Opera

No one was trembling in their seats at the Metropolitan Opera premiere of John Adams’s The Death of Klinghoffer on October 20. Taking no chances, the police presence outside the hall was considerable, and if you made light of it, the box office manager was quick to frown. “It’s for your own protection, sir.” But how can this Mayfly of a contretemps be seen as anything inflammatory? Every lens you view it through is skewed. A woman was introduced at the rally outside (protesters had been squeezed into the tiny strip park that separates Lincoln Center from Broadway) as a heroine for Israel. Through a bullhorn she shouted that “Peter Gelb, a Jew, has brought danger to all of us.” It would take the thinnest of skins and hottest of heads to remotely believe such a charge.

Thumbnail : Living “City”! …at Odyssey Opera, Boston

Living “City”! …at Odyssey Opera, Boston

SOLD OUT! The signs taped to the front doors of Jordan Hall told a rare story for Boston’s classical music scene. Odyssey Opera began its second season with a hit on its hands—the Boston premiere of Erich Wolfgang Korngold’s 1920 opera Die tote Stadt (The Dead City), a romantic work now best known for a soaring soprano aria, “Marietta’s Lied,” a favorite of any diva who can sing a high C on pitch (and some who can’t).

Thumbnail : Summer Retrospective: Donizetti and Verdi at Caramoor 2014 (with a look back to 2013)

Summer Retrospective: Donizetti and Verdi at Caramoor 2014 (with a look back to 2013)

The lattest upheavals in San Diego and New York have, as you might expect, stirred up another raft of “death of opera” articles in the press. Clichéd automatic reactions to what may be symptoms of something larger or may not were common enough before the digital age, but, since all it takes is to get a reader to click on a headline to accomplish something positive (as it seems) the constant repetition of dire news has become a reality of a decidedly Pavlovian sort, since the Net is interactive, is it not?

Thumbnail : Women Abandoned and Operas Revised for Better and Worse:  Glimmerglass Opera, 2014 (Part 2)

Women Abandoned and Operas Revised for Better and Worse: Glimmerglass Opera, 2014 (Part 2)

Naxos in Ms. Zambello’s staging appears to be a fictional town in upstate New York. Theodore Dreiser’s grim tale, An American Tragedy is set in the Greek-name Lycurgus (ironically, the lawgiver of Sparta) N.Y., another fabrication making one believe that upstate New York might be perceived as a birthplace of tragedy, pace Nietszche. Tobias Picker’s original operatic adaption of Dreiser’s novel was commissioned by the Metropolitan Opera and premiered in 2005. Francesca Zambello directed this version which was fairly well received. Since then, both Mr. Picker and librettist Gene Scheer have been steadily revising the original, mostly by broad-stroke cutting. In celebration of Mr. Picker’s sixtieth birthday, this latest edition premieres at Glimmerglass this season, again under the aegis of Ms. Zambello and directed by Peter Kazaras. The essay in the program provided by Thomas May give strong hints as to the intentions of the current revision. Giving us these clues is sensible since many of us (myself included) never saw the longer 2005 production. Dreiser’s tale is based on a lurid real-life murder in 1906, People v. Gillette. Chester Gillette (Clyde Griffiths in Dreiser’s novel), a worker in a skirt factory in Cortland, N.Y. (about two hours west of Glimmerglass), killed another employee, Grace Brown (Roberta Alden in the novel), who he had impregnated.

Thumbnail : Women Abandoned and Operas Revised for Better and Worse:  Glimmerglass Opera, 2014 (Part I)

Women Abandoned and Operas Revised for Better and Worse:  Glimmerglass Opera, 2014 (Part I)

  Whether by intention or not, each of the three brilliant productions at Glimmerglass this summer feature profligate cads driving themselves and the women they profess to love to suicide, murder, and, in one case a “transformation” for the better. As well, each opera represented the finalizing of a revisionary work in progress by composer […]

Thumbnail : Crowned: Opera Odyssey’s June Festival, plus Guerilla Opera and Commonwealth Lyric Theater, and OperaHub

Crowned: Opera Odyssey’s June Festival, plus Guerilla Opera and Commonwealth Lyric Theater, and OperaHub

For a city that hasn’t seemed very welcoming to opera, Boston has had a lot of opera going on lately. Since Opera Boston closed on January 1, 2012, there’s been only one major opera company left, the Boston Lyric. But last fall, Gil Rose, former music director of Opera Boston, returned as the head of an important new company, Odyssey Opera, leading a rare performance in concert of Wagner’s first opera, the epic Rienzi. It was a critical success, and now, at the intimate BU Theatre, Odyssey has let its other shoe drop with two programs of fully staged smaller-scale but equally unusual repertoire: Verdi’s second opera, Un giorno di regno (King for a Day), the first of his only two comedies and one of the biggest flops of his entire career; and a double bill of Mascagni’s even rarer “lyric scene,” Zanetto, last seen in Boston in 1902, when Mascagni himself brought it on an American tour (and was  thrown into the Charles Street jail for not paying his company), and Ermanno Wolf-Ferrari’s 1910 farce, Il segreto di Susanna (Susanna’s “secret” being her unladylike addiction to cigarettes).

Thumbnail : More on Klinghoffer, Gelb, and the Met at Sea

More on Klinghoffer, Gelb, and the Met at Sea

In the affair over John Adams’ opera, The Death of Klinghoffer, the participants have succeeded in making themselves look very bad indeed, above all Abe Foxman of the Jewish Anti-Defamation League and whatever kindred organizations which have not been specified in the reports—with Peter Gelb straggling obsequiously behind them. It is appalling that a special interest group can dictate what a major arts institution can present to the public, and that the chief officer of the institution should accept it so easily. Peter Gelb stated that the cancellation of the HD transmission was necessary to save the production itself at the Metropolitan Opera—which implies that the revered old house operates under the external control of groups like the ADL, which likes to consort with governments on a quasi-equal footing, but which exercises no legal power equivalent to that of a national government, certainly not that of the United States or Israel.

Thumbnail : Handling Handel: Mark Morris’ Acis and Galatea, plus more Handel, Monteverdi, BLO’s I Puritani, the Met’s Cenerentola, and other adventures in opera-land

Handling Handel: Mark Morris’ Acis and Galatea, plus more Handel, Monteverdi, BLO’s I Puritani, the Met’s Cenerentola, and other adventures in opera-land

The Mark Morris Dance Group was back in Boston with the East Coast premiere of a major new work, Handel’s ravishing pastoral opera Acis and Galatea, under the aegis of the Celebrity Series of Boston, one of the co-commissioners. I loved it. Or to put it more accurately, I’m in love with it, and saw three of its four performances at the Shubert Theatre. Morris has now staged several complete operas and one Handel oratorio. At least two of these are generally regarded as his masterpieces: Purcell’s one-act opera, Dido and Aeneas (1989), in which all the singers are offstage and the dancers play the main characters; and Handel’s L’Allegro,il Penseroso ed il Moderato (1988), in which the singers are also offstage, and there are no charactersBut in Rameau’s delectable Platée (1997) and in Morris’s productions of Gluck’s Orfeo ed Euridice (Handel and Haydn Society, 1996; the Metropolitan Opera, 2007), singers played the leading roles and appeared on stage along with the dancers.

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  • The Bard Music Festival at 25: Franz Schubert and his World
    My leading thought goes against much of what the Bard Music Festival and my own values, for that matter, stand for. And just read Keith Francis' provocative series, The Great Composers?, the latest installment of which has just been published. I've missed only one Bard Festival since 2006, and I've heard great music by Elgar, […]
    Michael Miller
  • A Singer’s Notes 98: No Amontillado, just Ale
    The much-maligned poetry of Edgar Allan Poe still bristles with excitement when one hears it. High and mighty Emerson called it a bunch of "jingles." The musical reference is appropriate. A poem like "Annabelle Lee" is basically a sound event. The sonic Poe I have in my imagination was revered by the French, Baudelaire in […]
    Keith Kibler
  • A Treasurable Account of Poe’s Last Hours from the Berkshire Theatre Group, with David Adkins and Kate Maguire, Closing 10/26
    You can't really blame the Berkshire Theatre Group for billing Eric Hill's splendid entertainment, POE, as a Hallowe'en show. As the holiday approaches, Poe's chilling stories and poems are rolled out in all the many forms they have assumed since their assimilation into two great cultural phenomena, American Literature and American Pop Culture, over the […]
    Michael Miller
  • A Singer’s Notes 97: It’s Hot Outside—Cat on a Hot Tin Roof Clicks at Oldcastle Theatre, Bennington
    Cat on a Hot Tin Roof is an obsessive work which makes wildly different demands on its actors. Renata Eastlick as Maggie starts us off which what amounts to a twenty-five to thirty-minute monologue. She did this superbly. It was just overbearing enough. Listening to her was the excellent Loren Dunn who played her husband […]
    Keith Kibler