Arrival in London

I've arrived in London! The next couple of days will probably be a lot of getting settled and learning my way around but I hope to be seeing some music quite soon!!

Comments

Post a Comment

Popular posts from this blog

Wiener Staatsoper Review: Eugene Onegin

Image
This marked my first foray into live Russian opera. I performed in Smetana's Czech The Bartered Bride , though the text was sung in English. Yesterday I had the opportunity to see Tchaikovsky's Eugene Onegin ( Евгений Онегин/Yevgény Onégin ). Unfortunately, I found the performance to be, overall, relatively emotionally flat, saved in part by an outstanding performance by Pavol Breslik as Lensky in the second act. First, general information and synopsis followed by cast list:  http://en.wikipedia.org/wiki/Eugene_Onegin_(opera) EUGEN ONEGIN | Peter I. Tschaikowski Louis Langrée |  Dirigent Falk Richter |  Regie Katrin Hoffmann |  Bühne Martin Kraemer |  Kostüme Joanna Dudley |  Choreographie Carsten Sander |  Licht Shugo Ikoh |  Regieassistenz Agnes Hasun |  Bühnenbildasistenz   Olga Guryakova |  Tatjana, Tochter von Larina Markus Eiche |  Eugen Onegin Pavol Breslik |  Lensky, Dichter Ain Anger |  Fürst Gremin Nadia Krasteva |  Olga Monika Bohinec |
Read more

Maria Callas & Victoria de los Angeles

Image
Maria Callas & Victoria de los Angeles Maria Callas Maria Callas’ renown as La Divina is of course legendary. Her legacy, however, is equally clearly controversial. Walter Legge, producer of many of her recordings, describes her vocal assets as part of a larger section on the same in Jürgen Kesting’s Maria Callas . Her three octave range, distinctive timbre, sizable voice, a potential darkness in the middle range, easy coloratura , and access, if not security in the top notes. Perhaps even more of note is Kesting’s description of the dichotomy between “good” voices, lacking in naturally effortless technique but with great artistry, and “beautiful” voices whose effortless technique seems to be the end in itself. Kesting asserts that Callas fell into the former category. Kesting repeatedly addresses issues of style in relation to this categorization, noting Callas’ abilities to execute pianissimi , portamenti , true Bel Canto coloratura , and emotional shading.
Read more

Wiener Staatsoper, The Insanity of All: Richard Strauss' "Salome"

Image
I remember reading Fred Plotkin's book Opera 101  some time ago. The book listed ten operas that would theoretically take a viewer from an easy, very accessible opera that they would (hopefully) like no matter what ( Rigoletto  was his suggestion). The operas became increasingly less accessible until, at the end, were Wagner operas. Except these were not quite the end. The last of the ten was contained in a chapter called "Psychological Opera: Elektra ," or something along those lines. While Elektra is obviously a different Strauss opera than Salome , I found here the elements that might make this opera inaccesible to some, and definitely one to reserve for only the most prepared audience members. I admit this is my first time seeing Salome , but I must say that I was struck, I think particularly by this production, by how it is not just Salome , but essentially all the major characters, who are fraught with psychological problems. Synopsis & General Inform
Read more