The Passion of Opera

Besides, of course, Der Ring des Nibelungen , Parsifal likely stands as Wagner's most monumental work. Having seen the full  Ring  and Tannhäuser  in Vienna, I was excited to keep checking things off the very top of the list of Wagnerian operas. The conceptualization of this production was mixed. I have often debated at length how productions that set an opera in a different time period or are abstract (like this one) must not only not distract from the opera, but must do more than just provide an acceptable veneer for an alternate setting. They must truly add something beyond what the production offers in its traditional setting. The concept of this production definitely attempted to do so but lacked the artistic unity to fully succeed. The performances, however, were simply rock-solid and perfectly in the vein demanded by Wagnerian roles.  General information & synopsis:  http://en.wikipedia.org/wiki/Parsifal Parsifal | Richard Wagner Credits: ...

Going into Wozzeck I wasn't sure what to expect. I've studied the opera in the abstract in music history courses but I've never seen it live. It was really exciting to finally have the opportunity to see such a seminal, if unusual work. It was great that the Royal Opera House opened up the Ampitheatre level exclusively for students and that it was pretty much completely full of them. This production of Wozzeck was great vocally but even better in its conceptualization and the singer's abilities acting within that context. Synopsis and general information:  http://en.wikipedia.org/wiki/Wozzeck Wozzeck | Alban Berg Credits: Director | Keith Warner Set Designer | Stefanos Lazaridis Costume Designer | Marie-Jeanne Lecca Lighting Designer | Rick Fisher Performers: Captain | Gerhard Siegel Wozzeck | Simon Keenlyside Andres | John Easterlin Marie | Karita Mattila Child | Sebastian Wright Margret | Allison Cook Doctor | John Tomlinson Drum Major | Endri...

I have always been fascinated by Richard Strauss' Elektra. Despite never having listened to it in full, it has always been iconic to me of Strauss' dichotomy between viennese slice of life productions, such as Der Rosenkavalier or Arabella, and his emphasis on mythology often incorporated elements of Freudian psychology and madness, such as Salome , Elektra , and to some extent Ariadne auf Naxos . Having heard many of Strauss' other operas but never the iconic Elektra , I was excited. This production by the Royal Opera House won great acclaim from the audience in the house and reviewers. I appreciate the production, especially for its consistency, but found it slightly less convincing. Synopsis and general information:  http://en.wikipedia.org/wiki/Elektra_(opera) Elektra | Richard Strauss Credits: Director | Charles Edwards Set Design | Charles Edwards Costume Designs | Brigitte Reiffenstuel Lighting Design | Charles Edwards Movement Director | Leah Ha...

I watched this rendition of La fille du regiment with the excellent Natalie Dessay and Juan Diego Florez a few weeks ago and I am now getting around to my review of it. All in all, it was an excellent production. The leads did great jobs with just a few small foibles, and the supporting cast was superb in both acting and voice. The acting overall is quite good. Florez, for his part, has some rote gestures that he does again and again (particularly turning away and turning back before starting a phrase). However, he does a good job of acting the part with a sincerity that has been unusual until recently for tenors in particular. That said, there have been exceptions in the past and there are a wide variety of tenors with acting ability currently on the stages. Florez isn't an exquisite actor above the rest, but he's good enough without a doubt. The supporting singers all play their roles well, especially Felicity Palmer (except not so well when she's singi...