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...

Pictured just above is the promotional graphic for the Royal Opera House's production of Les vêpres siciliennes . It's an odd graphic that tries to get to the production's vision. That vision was a failure. Despite that, the performance I witnessed was phenomenal because of the performers. It was my first chance to see Verdi's rare opera and it was a wonderful one. I definitely want to listen to more recordings and, if possible, see more performances, including the Italian variant, which is more often performed. As a tenor, it was especially exciting, for the first time, to see a tenor in a truly central role who I might describe as, "on." Synopsis and general information: http://en.wikipedia.org/wiki/Les_vêpres_siciliennes Les vêpres siciliennes | Giuseppe Verdi Credits: Director | Stefan Herheim Dramaturg | Alexander Meier-Dörzenbach Set Designer | Philipp Fürhofer Costume Designer | Gesine Voellm Lighting Designer | Anders Poll Choreography | ...

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...

Just wanted to throw out there quickly that I've been a bit slow in getting through the mass of blogging I have to do between this and  To Float on a Wayward Wind  while also trying to do stuff and travel while in London in addition to classes and work. It's a bit crazy. Still, I have been to Strauss' Elektra at the Royal Opera House and to English National Opera's production of Beethoven's Fidelio . Both had their highs and lows and reviews will be coming out shortly. I may shortly be at ENO's Madama Butterfly  and would love to see ROH's Les vêpres siciliennes , though scheduling this has been difficult. Meanwhile, The Passion of Opera has broken 30,000 lifetime views and keeps going strong. Thank you for your support and I'll have new reviews up shortly!!