The Passion of Opera

Le nozze di Figaro is, of course, a classic in the operatic canon. The cross-dressing, marriage/fidelity farce is typical of Mozart and Da Ponte in its ability to, like Shakespeare, convey both comedy and serious societal implications simultaneously. The thing is, for me, I went into this performance already weary, never having been very satisfied by either the comedy or the drama in this famous opera. I was reminded of the fact that while sometimes works can become overhyped, the crowds generally have some idea about things. I was reminded also that with something as famous as Nozze , perhaps I just had not seen a production that was good enough. That was exactly the case. This production demonstrated to me the genius of Mozart's beloved opera. Synopsis and general information: http://en.wikipedia.org/wiki/The_Marriage_of_Figaro Le nozze di Figaro | Wolfgang Amadeus Mozart Credits: Director | David McVicar Designs | Tanya McCallin Lighting Design | Paule Constable Mo...

Just wanted to say that I've been on a bit of a hiatus because 1. I've been working a new job and I want to make sure I'm making a good impression and all that and 2. I'm in a temporary apartment with a smaller tv and poor sound system, so I've been holding off on watching DVDS, etc., for a while.

Just as in the Wiener Staatsoper's recent production of  Il barbiere di Siviglia  this production of Donizetti's  L'elisir d'amore  goes back to the basic, classic style of  bel canto  performance, stripping away many of the inventions and conventions developed in the past several decades and returning to the basis of the art form. The production of  Barbiere  was certainly funny, but eschewed hilarity in favor of what felt like a very pure representation of  bel canto  melodrama. Synopsis & general information:  http://en.wikipedia.org/wiki/L'elisir_d'amore L'elisir d'amore | Gaetano Donizetti Dirigent | Marco Armiliato Nach der Regie von | Otto Schenk Ausstattung | Jürgen Rose Chorleitung | Martin Schebesta Adina | Aleksandra Kurzak Nemorino | Stephen Costello Belcore | Marco Caria Doktor Dulcamara | Adam Plachetka Giannetta | Jeanine De Bique Ein Trompeter | Konras Monsberger Diener de...

  This production of a relatively less well-known opera by Leoš Janáček was, unfortunately, probably the most disappointing that I've seen at the Staatsoper. Some of my colleagues have disagreed with me about the quality of the production. I admit that I might have been listening to the cast on an off night or that I may have "missed" the intention of the production or the singers. No review is flawless, but an off night, while not a representation of singer's abilities, still makes for a poor night at the opera. Missing the point of a production may be a failure to understand, but as a well versed operagoer if a reviewer misses the point or fails to understand, it is likely the production is failing to communicate to the audience as a whole. General information & synopsis:  http://en.wikipedia.org/wiki/KáťaKabanová Cast: Káťa Kabanová | Leoš Janáček Dirigent | Franz Welser-Möst Regie | André Engel Bühne | Nicky Rieti Kostüme | Chantal de La...

This post is just to address the overall arc of the Wiener Staatsoper's Fall 2011 production of Der Ring des Nibelungen . These observations didn't feel appropriate to describe in any of the reviews of the individual operas, but a review of the cycle as a whole would be incomplete without them. The set design was very mediocre. In the first three operas of the cycle it tended toward the abstract without actually going all the way down the rabbit hole. It is respectable that designers want to get away from the massive, grand sets and costumes with horns and metal bras. I imagine that there is a feeling among designers that they just can't top a "period" Ring set and that this well is dry. Nonetheless, if the decision is to go abstract, then full abstraction is probably requisite, rather than trying to make a literal interpretation feel abstract. This just leads to a sense that things were left out or skimped upon. Perhaps the greatest failing in the first three...

After having waiting 20 hours and witnessing 18 hours of opera over two weeks, I have finally finished the Wiener Staatsoper's production of Wagner's  Der Ring des Nibelungen . I will finish up my own cycle of four reviews by dedicating this post to  Götterdämmerung . It is well worth making general observations about the production of the Cycle as a whole (though some of these have slipped in already), particularly on account of the orchestra, but I will do this in a separate post. First:  Götterdämmerung . General information & synopsis:  http://en.wikipedia.org/wiki/Götterdämmerung Cast: Christian Thielemann | Dirigent Sven-Eric Bechtolf | Regie Rolf Glittenberg | Bühne Marianne Glittenberg | Kostüme Thomas Lang | Chorleitung Stephen Gould | Siegfried Markus Eiche | Gunther Eric Halfvarson/Attila Jun | Hagen Tomasz Konieczny | Alberich Linda Watson | Brünnhilde Caroline Wenborne | Gutrune Janina Baechle | Waltraute ...

Siegfried , like Die Walküre  is one of the linchpins of the Ring Cycle. Both of these operas are more recognized than Das Rheingold  or Götterdämmerung . While the performances in this production continued to be generally solid, Siegfried  did not feel as well put together as the preceding two operas in the cycle in the Wiener Staatsoper's production. The sets continued to be lackluster, and the voices, with some very notable exceptions, were neither as kind to the ear nor as consistent as in the other operas. Synopsis & general information: http://en.wikipedia.org/wiki/Siegfried_(opera) Cast: Siegfried | Richard Wagner Christian Thielemann | Dirigent Sven-Eric Bechtolf | Regie Rolf Glittenberg | Bühne Marianne Glittenberg | Kostüme fettFilm | Video Stephen Gould | Siegfried Linda Watson | Linda Watson Albert Dohmen | Der Wanderer Tomasz Koniczny | Alberich Anna Larsson | Erda Wolfgang Schmidt | Mime Ain Anger | Fafner Chen Reiss | S...