Archive for the ‘Opera’ Category
Vivica Genaux, who is about to tour the U.S. with Europa Galante and Fabio Biondi, talks to Michael Miller, Part 1 of 3
[Read Part II] [Read Part III] Vivica Genaux will tour the U. S. with Fabio Biondi and Europe Galante in February with a spectacular program based on their best-selling recording Vivaldi Pyrotechnics. I was fortunate to catch her in New York last month while she was on her way to Pittsburgh for her annual sessions with [...]
Eve Queler talks to Michael Miller about her upcoming performance of Wagner’s Rienzi with the Opera Orchestra of New York, Jan. 29, 2012, at Avery Fisher Hall
For the fourth time now, Eve Queler, Conducter Laureate of the Opera Orchestra of New York, will bring Richard Wagner’s third opera, Rienzi, to life. That is the only word for it, because her 1980, 1982, and 1992 performances of the rarely-performed opera were terrific hits among critics and audiences. Curiously for concert performances they had the impact of great spectacles, with choirs marching through the aisles and trumpets spread about the hall. Although, as always, Ms. Queler’s focus was always on the music, she captured some of the spectacle of the first performances.
James Levine Withdraws from Met Conducting Assignments through the End of Next Season; a Word for Jonas Alber
The Metropolitan Opera has released the following announcement, which comes as no surprise. What struck me above all is that Fabio Luisi was not able to conduct the last two performances of Siegfried and Götterdämmerung on May 9 and May 12 matinee. I very much hope that the responsible parties will consider Jonas Alber for these dates. Former General [...]
The audience poured out of the auditorium, through the lobby, and out into the parking lots with such a happy general purring that it seemed villainous to criticize the brave new entertainment Peter Gelb has brought the world. For almost five years now we have been able to watch High Definition video projections of performances at the Metropolitan Opera in movie theaters and auditoriums like the one at the Clark Art Institute, which I had just vacated. HD Live, as it’s called, has become a hit in most places, I hear—certainly in Great Barrington and Williamstown, where I’ve seen them, mingling with a dense, enthusiastic, mostly mature crowd. It’s often harder to get a ticket to one of these projections than it is to get a seat at Met itself.
What could be more commendable than creating a show that provides so much enjoyment? It brings opera to a vast global audience at reasonable prices, and at various times in the past half-century many have feared opera was in danger of dying out altogether, either from the expense of production and operation or the sheer irrelevance of its elitist origins. The Met opera broadcasts, which began in the early 1930s, changed many lives and, in synergy with the Metropolitan Opera Guild and Opera News, helped raise significant sums of money for the Met during the Great Depression, when the house desperately needed funds and people needed cheap entertainment. Are the times not similar today? The broadcasts only created more opera-lovers, and what possible harm could they do? (Actually I know of one example, but I’ll leave that for another time.) Wouldn’t the HD transmissions, with their spectacular images and vivid sound bring even more good into the world?
Lully and Quinault’s Atys: Christie and Villégier’s Historic Production of Les Arts Florissants Revived at BAM for its 150th Anniversary
The Brooklyn Academy of Music, chose to open their 150th anniversary celebrations with a more recent, but no less historically significant commemoration, and typical of the innovative, constantly exciting work BAM has been doing since the 1960s. This was nothing less than a “recreation,” as the program calls it, of Jean-Marie Villégier’s watershed production of Lully’s Atys, with music by Les Arts Florissants, conducted by William Christie. This production, organized by the Paris Opera to commemorate the 300th anniversary of Lully’s death, went through 70 performances between its premiere in December 1986 in Prato, and its second revival in 1992, closing finally at BAM after its second run there.
In my preview of this opera, I maintained that Die Liebe der Danae (more properly, Danaë, emphasizing the “ahh-aay” of the last two vowels), is a rarely performed treasure from the last years of Richard Strauss. Based on Maestro Botstein’s wonderful recording a decade ago, I wondered whether an actual stage production could do justice to the music. Joseph Gregor’s libretto seemed wayward to me, so that seemed the biggest obstacle for a felicitous live production. In fact, this new production at Bard’s Summerscape, directed by Kevin Newbury, lived up to, and exceeded all my expectations. Musically, it turns out as one of Strauss’s most attractive works; and the libretto, while quirky and vapid at times, inspired a humorous, imaginative and completely enchanting production.
Yesterday – would you believe it? – I heard Bizet’s masterpiece for the twentieth time. Once more I attended with the same gentle reverence; once again, I did not run away. This triumph over my impatience surprises me. How such a work completes one! Through it one almost becomes a “masterpiece” oneself – And, as a matter of fact, each time I heard Carmen it seemed to me that I was more of a philosopher, a better philosopher than at other times. I became so forbearing, so happy, so Indian, so settled….Bizet’s music seems to me perfect. It comes forward lightly, gracefully, stylishly. It is lovable. It does not sweat.
Friedrich Nietzsche – The Case of Wagner, (Leipzig, 1888).
Nietzsche was, of course, ironically extolling Carmen at the expense of his erstwhile mentor-idol-friend, Richard Wagner. Even though Wagner had been dead for five years, Nietzsche had great fun zinging Wagner’s family, followers, and the entire Bayreuth phenomenon. Yet, his comment that “it does not sweat” ultimately lingers in one’s judgment of Bizet’s masterpiece. Nietzsche would have had little to comment on the subject matter of this opera, nor on the moral turpitude to which the opera’s male hero falls. Nietzsche might have even identified with Don José in his own affair with the free thinking and flamboyant psychoanalyst, Lou Andreas-Salomé. With the philosopher’s mother and sister holding him in check, he never had the opportunity to be so lustily ruined by his own Carmen.
Die Liebe der Danaë Libretto by Joseph Gregor Based on a scenario by Hugo von Hofmannsthal Music by Richard Strauss First N.Y. Fully Staged production July 29 – August 7, 2011 The Richard B. Fisher Center f or the Performing Arts at Bard College The American Symphony Orchestra Leon Botstein, Conductor It’s a bit of [...]