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It so rarely happens that the final concert you are due to review of any year ends up being one of the finest of all. Were there any justice in this fallen world, serial Stravinsky — not to mention Webern — would be played on every street corner, or at least in every concert hall. Come the revolution, perhaps. As in previous recordings of songs by Wolf, Debussy and Poulenc, pianist Eugene Asti is her accompanist in Le Bal des Animaux , a delightful collection of French songs about creatures of all sizes, from flea to elephant and from crayfish to dolphin.
During the past four years, there have been many musical and artistic centenary commemorations of the terrible human tragedies, inhumanities and utter madness of the First World War, but there can have been few that have evoked the turbulence and trauma of war - both past and present, in the abstract and in the particular - with such terrifying emotional intensity as this recital by Ian Bostridge and Antonio Pappano at the Barbican Hall.
The songs of Tchaikovsky and Rachmaninov lie at the heart of the Romantic Russian art song repertoire, but in this duo recital at Wigmore Hall it was the songs of Nikolay Medtner - three of which were framed by sequences by the great Russian masters - which proved most compelling and intriguing. And still they come. No year goes by without multiple opportunities to see it; few years now go by without my taking at least one of those opportunities. It sounds like a question from a BBC Radio 4 quiz show: This Harold en Italie, op.
As in previous recordings of songs by Wolf, Debussy and Poulenc, pianist Eugene Asti is her accompanist in Le Bal des Animaux, a delightful collection of French songs about creatures of all sizes, from flea to elephant and from crayfish to dolphin. As it turns out, everything went smoothly.
In this BBC Radio 3 lunchtime concert at the Wigmore Hall, soprano Roberta Invernizzi presented Italian songs from the first half of seventeenth-century, exploring love and loyalty, loss and lies, and demonstrating consummate declamatory mastery. That smart-phone which feeds your narcissism might just prove your nemesis. Although this concert was ostensibly, and in some respects a little tenuously, linked to the centenary of the Armistice, it did create some challenging assumptions about the nature of war. For the second of my armistice anniversary concerts, I moved across town from the Royal Festival Hall to the Barbican.
It is bound up with hatred, jealousy, boastfulness, disregard of all rules and sadistic pleasure in witnessing violence: Let us not be ashamed to shed a tear of emotion as we hear it! Sadly, and worryingly, there are plenty of modern-day political leaders - both dictators and the democratically elected - whose petulance, stubbornness and egoism threaten the safety of their own subjects as well as the stability and security of other nations.
Who needs another Tosca? The staging is refreshing and pacey. Musically, it has the four crucial ingredients: This new production, shared with the Royal Opera House, Covent Garden and with the Teatro Real, Madrid, features an accomplished cast and innovative scenic approaches. A great big guy in a great big fur coat falls in love with the photo of the worldly daughter of a compulsive gambler. A great big conductor promotes the maelstrom of great big music that shepherds all this to ecstatic conclusion.
The miasma of doom that pervades the air of the great house of Bly seems to seep slowly into the auditorium, dulling the senses, weighing down the mind. What evil lurks here? Can these people be saved? Proof that new work, like good wine, needs to settle and mature to reveal its riches. I shall admit to a slight disappointment that it was not in Welsh: The story was bigger than its actors, the Tosca ritual was ignored. It was an evening of powerful theater, and incidentally it was really good opera. This performance by the Royal Concertgebouw Orchestra only partially succeeded in doing so.
The cast credits raised the highest expectations, but Gianandrea Noseda, stepping in for an ailing Mariss Jansons and conducting the RCO for the first time, did not bring out the full potential at his disposal. In their typical non-emphatic way, the Tallis Scholars under Peter Phillips presented here a selection of English sacred music from the Eton Choirbook to Tallis. Naturalist realism is not what it's meant to be. Cryptic is closer to what it might mean. Femme fatale, femme nouvelle, she-devil: Opera Philadelphia is lightening up the fare at its annual festival with a three evening cabaret series in the Theatre of Living Arts, Queens of the Night.
Opera Philadelphia has mounted as gripping and musically ravishing an account of Lucia di Lammermoor as is imaginable. Sir Simon Rattle and the London Symphony Orchestra marked the opening of the season with a blast. When Sir Harry makes a statement, he makes it big and bold! The names of Belfast-born soprano Heather Harper and Kansas-born tenor James King may not resonate for younger music lovers, but they sure do for folks my age. A good fairy-tale sweeps us away on a magic carpet while never letting us forget that for all the enchanting transformations, beneath the sorcery lie essential truths.
The Royal Opera House today opens the doors to its transformed new home, following an extensive three-year construction project. This could explore a notion of eternal recurrence: In early October , Gioachino Rossini summoned the librettist Gaetano Rossi to a villa owned by his wife, the soprano Isabella Colbran in Castenaso, just outside Bologna.
One should not judge a performance by its audience, but spying Mitsuko Uchida in the audience is unlikely ever to prove a negative sign. Edward Elgar's Sea Pictures are extremely well-known, but many others are also worth hearing. From SOMM recordings, specialists in British repertoire, comes this interesting new collection of other Elgar orchestral songs, sponsored by the Elgar Society.
However, Martin - the protagonist of The Second Violinist, a new opera by composer Donnacha Dennehy and librettist Enda Walsh - is, like the late sixteenth-century composer, Carlo Gesualdo, an artist with homicidal tendencies. And, Dennehy and Walsh bring music, madness and murder together in a Nordic noir thriller that has more than a touch of Stringbergian psychological anxiety, analysis and antagonism. The cautionary tale which W. Last Tuesday, however, an audience aged between sixteen and thirty-five got to see a preview of this co-production with English National Opera and the Aix-en-Provence Festival.
Mahler and I, at least in the concert hall, parted company over a decade ago - and with his Third Symphony it has been an even longer abandonment, fifteen years. Reviewing can nurture great love for music; but it can also become so obsessive for a single composer it can make one profoundly unresponsive to their music. This was my tragedy with Mahler. I wonder if Cinderella realised that when she found her Prince she would also find international fame, becoming not just a Princess but also a global celebrity and icon. The glass slipper, placed loving on her shapely foot, has graced theatres, variety halls, cinema screens and opera houses - even postage stamps - and the perennial popularity of this rags-to-riches fairy-tale, in which innocence and goodness triumph over injustice and oppression, shows no signs of waning.
Gilbert came to an end, and with it the golden age of British operetta. Sullivan was accordingly at liberty to compose more serious and emotional operas, as he had long desired, and turned first to the moribund tradition of "Grand Opera" with Ivanhoe Famously, controversy is the stuff of Bayreuth, be it artistic, philosophic or political.
When this production debuted last summer at Glimmerglass, my Opera Today colleague James Sohre found it a thoroughly successful mounting of George Gershwin and DuBose Heyward's noble but problematic opera. The Hollywood Reporter called it the greatest musical ever produced. Oh no, not another Barber!
And hope for the best. Eclectic, even visionary, Proms are one of the great hallmarks of this summer music festival - and this concert certainly fell into that category. On paper, little seemed to unify the first and second halves of the programme: We are accustomed to seeing Finnish conductor Sakari Oramo at the helm of a large orchestra, baton in hand, guiding the instrumentalists with unassuming but precise authority and expressive, communicative musicianship.
Three electrifying moments and the world is forever changed. A Romeo Castellucci production is always news, it is even bigger news just now in Salzburg where Lithuanian soprano Asmik Grigorian has made her debut as the fifteen year-old Salome. One of the joys of writing regularly — sometimes, just sometimes, I think too regularly — about performance has been the transformation, both conscious and unconscious, of my scholarship.
I am not sure I could find much of a connection between the two works on offer here. The mood in the city is certainly soporific at the moment, as the blistering summer heat takes its toll and the thermometer shows no signs of falling. It must not be born!
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The words "Te saxa Loquuntur" The stones are speaking to you are projected onto the stage. Salzburg regulars will recognize this as a reference to the rock foundations on which part of the city is built, and the traditions of excellence the Festival represents. In this opera, the characters talk at cross-purposes, hearing without understanding. The phrase suggests that what might not be explicitly spoken might have much to reveal.
In this, her Proms debut, Anna Prohaska offered something akin to a cantata of two queens, complementary and contrasted: Frank Castorf might have been born to direct From the House of the Dead. Should you not like eighteenth-century opera very much, if at all, and should you have no or little interest in Haydn either, this may have been the production for you. Friends tell me that would have made little difference, yet I cannot know for certain. A celebration of European song will be the focus of the Oxford Lieder Festival 12th - 27th October and will showcase the familiar masterpieces of the song repertoire while exploring wider cultural influences from Finland to the south From heroic knights to adolescent youths, women don the armour and trousers, and no-one bats an eyelid.
The mix of vocal music, arrangements and multiple pieces per half felt like a flashback to the early days of the Proms, offering eclectic mixes of vocal and instrumental soloists. The nickname "Symphony of a Thousand" wasn't Mahler's choice but the invention of promoters eager to market it as a showpiece. The artistic director of Longborough Festival Opera has overseen a production which brings together professional soloists, students from Trinity Laban Conservatoire of Music and Dance, and a cast of more than 80 south-east London adults and children for this, the 12th, annual Blackheath Halls Community Opera.
The production is vintage Audi - stylized, austere, but solidly thought-through. Let me get right to the point: This is the Rusalka I have been waiting for all my life. Over the past few years Mme. Mitchell has staged quite a few household tragedies at the Aix Festival, mostly at dinner tables, though some on doorsteps. The Princeton Festival brings a run of three high-quality opera performances to town each summer, alternating between a modern opera and a traditional warhorse.
Many of the ingredients for a memorable concert were there, or so they initially seemed to be. What might have been? What might have been if Stefan Herheim had not changed his Konzept so late in the day? I had actually forgotten about that until reminded during the interval, yet had already began to wonder whether the production had been, especially for him, unusually rushed.
There is something very Danish about this Don Giovanni. A blazing performance, formidably dramatic, executed with stunning assurance. Salonen has made his mark on the Philharmonia through in-depth explorations of the 20th century repertoire he loves so well. It caused a sensation at its unveiling at the Aix-en-Provence Festival. Alone, tranquil and serene. In that sense, so did I.
The Grange Festival had assembled a cast to grace any stage, a cast that more than lived up to expectations on this, the first night. Opera seems to travel far from the opera house these days. Most of all we marvel at genius of the composer and admire the canny story telling of the Zambello production. Fast forward six months, and what a world of difference! Let me begin, like an undergraduate unsure quite what to say at the beginning of an essay: The shepherds and nymphs are at play!
Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera. Another wonderful Wigmore song recital: But even more beautiful is freedom! Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of in the Teatro Giustiniani di S. It had been a while since Bryn Terfel sang a complete opera role in Amsterdam.
We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams. He dispatches both her and her lover Aegisthus. What a treat the London Music Conservatoires serve up for opera-goers each season. Absence makes the heart grow fonder; or does it? Or rather, what could such a question even mean?
Standing in shadow, encircled by the five players of the viol consort Fretwork, as the summer storm raged outside Milton Court Concert Hall countertenor Iestyn Davies offered mesmeric reassurance to the capacity audience during this intriguing meeting of the baroque and the modern. As a whole, this concert proved a curious affair. The idea of a night off from the symphonic Beethoven to turn to chamber works was, in principle, a good one, but the sole Gerald Barry piece here seemed oddly out of place — and not in a productive, provocative way.
Even the Beethoven pieces did not really seem to fit together especially well. A lovely performance of the op. Seven, they are Seven , op. This striking staging, by Vincent Huguet, brought out its austere glory: On my way to meet countertenor Iestyn Davies, I ponder if these are the elements that might form connecting threads between the music of Henry Purcell and Michael Nyman, whose works will be brought together later this month when Davies joins the viol consort Fretwork for a thought-provoking recital at Milton Court Concert Hall.
This concert might have been re-titled Remembrance of Musical Times Past: Then that red plush. Lessons in Love and Violence. New from Harmonia Mundi, Perpetual Night. Ensemble Correspondances are among the foremost exponents of the music of Versailles and the French royalty, so it's good to hear them turn to the music of the Stuart court. Always in demand on French and international stages, the French soprano Sabine Devieihle is, fortunately, becoming an increasingly frequent visitor to these shores. This lunchtime recital, reflecting the meetings of music and minds which took place at Parisian salon of the nineteenth-century mezzo-soprano Pauline Viardot , was her solo debut at the venue.
As a figure in the history of 20th century art, few deserve to be closer to center stage than Ida Rubenbstein. At his best, Matthias Goerne does serious ernst at least as well as anyone else. Is that not, after all, what clowns are about? Yet, individual taste aside, whom would one choose before him to sing Brahms, let alone the Four Serious Songs? Baritone Matthias Goerne can spin an extended vocal line and float a lyrical pianissimo with an unrivalled beauty that astonishes no matter how many times one hears and admires the evenness of line, the controlled legato, the tenderness of tone.
This is a recording I have grown up with and which, despite its flaws, is one of the greatest operatic statements - a glorious production which Zeffirelli finally agreed to staging, etched in gothic black and white film albeit just Act II , with Maria Callas and Tito Gobbi, if not always as vocally commanding as they once were, acting out their roles like no one has before, or since.
Madness - or perhaps, more widely, insanity - in opera goes back centuries. British music would not be where it is today without the influence of Charles Hubert Parry. His large choral and orchestral works are well known, and his Jerusalem is almost the national anthem. But in the centenary of his death, we can re-appraise his role in the birth of modern British song. So … what are they doing together then? I rest my case! On a recent weekend evening the performers in the current roster of the Patrick G. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents.
It was the first time in two decades that this company had staged a Ring opera. The Moderate Soprano and the story of Glyndebourne: Well, it was Friday 13th. Kennedy, who had been assassinated six years earlier. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome.
I should hang my head in Lenten shame. Four singers were awarded prizes at the inaugural Glyndebourne Opera Cup, which reached its closing stage at Glyndebourne on 24th March. The Glyndebourne Opera Cup focuses on a different single composer or strand of the repertoire each time it is held. In the featured composer was Mozart and the Orchestra of the Age of Enlightenment accompanied the ten finalists.
Unfortunately his current Lyon Don Carlos enjoys no such equivalent poetic intuition. Long Beach Opera often takes willing audiences on an unexpected journey and such is undeniably the case with its fascinating traversal of The Invention of Morel. Verdi's La traviata is one of those opera which every opera company needs to have in its repertoire, and productions need to balance intelligent exploration of the issues raised by the work with the need to reach as wide an audience as possible with an opera which is likely to attract audience members who are not regular opera-goers.
The title was given it by his publishers Haslingers, after his death, combining settings of two very different poets, Ludwig Rellstab and Heinrich Heine. Wigmore Hall audiences have heard lots of good Schwanengesangs, including Boesch and Martineau performances in the past, but this was something special. French grand opera and small opera companies are an unlikely combination. This captures the historic performance at the Chapelle Royale de Versailles in November , on the th anniversary of the King's death.
The big musical set pieces in Turandot require voice, voice, and more voice, and San Diego Opera has gifted us with a world-class cast of singing actors. As such, it is quite a success. As such, the Responsories demand a sense of darkness, reflection and depth that this new recording by Stile Antico - at least partially - captures.
A rewarding performance on many levels, not least because it's thoughtfully sculpted, connecting structure to meaning. It is well known that in addition to the fourteen songs by Alma Mahler published in her lifetime, several dozen more - perhaps as many as one hundred - were written and have been lost or destroyed. Wigmore Hall was transformed into a musical menagerie earlier this week, when bass-baritone Ashley Riches, a Radio 3 New Generation Artist, and pianist Joseph Middleton took us on a pan-European lunchtime stroll through a gallery of birds and beasts, blooms and bugs.
Nationality is a complicated thing at the best of times. At the worst of times: Almost whatever you want it to mean, or not to mean. The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.
The semi-finalists for the first Glyndebourne Opera Cup have been announced. Following a worldwide search that attracted nearly entries, and preliminary rounds in Berlin, London and Philadelphia, 23 singers aged have been chosen to compete in the semi-final at Glyndebourne on 22 March. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality.
For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories. At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series.
The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output: Schubert's life, in miniature. Never heard of Nicola De Giosa , a composer who was born in Bari a town on the Adriatic, near the heel of Italy , but who spent most of his career in Naples? Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.
Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here. The Complete Songs series, and the results were harmonious and happy. It is, of course, quite an achievement in itself for a symphony orchestra to perform Das Rheingold or indeed any of the Ring dramas.
This was the infamous production that was booed to extinction at Covent Garden. In the world of opera, the rot set in innocently, gradually. The Tucson Desert Song Festival consists of three weekends of vocal music in orchestral, chamber, choral, and solo formats along with related lectures and master classes. Both are masterpieces, but they are very different kinds of operas and experienced quite asymmetric performance histories.
The Royal Opera House has announced the five singers who will join the Jette Parker Young Artists Programme in September, selected from more than applicants from 59 countries. This is the world premiere recording of the text in English, the original language in which it was written. The new recording, from Munich, has features in common with one from Stuttgart that I greatly enjoyed and reviewed here: The two works on this CD make an apt and welcome pair.
Opera transcends time and place.
One recent survey suggested that in , the average age of a classical concertgoer was 36, whereas now it is plus. As he challenges the young lover who has betrayed him and excoriates Society for its wrong and unjust laws, Wilde also subjects his own aesthetic ethos to some hard questioning, re-evaluating a life lived in avowal of the amorality of luxury and beauty. I had never heard of Stefano Secco before receiving this CD.
But I see that, at age 34, he already has had a substantial career, singing major roles at important houses throughout Europe and, while I was not paying attention, occasionally in the US. It was composed by a year old girl. Stendhal complained that in Trieste nothing had been left to the imagination.
As well, in Lyon nothing, absolutely nothing was left to the imagination. The Barbican performance last night was no ordinary concert. This performance was extraordinary because it carried a message. But also, because some of the cast seemed rather out of sorts. Scandinavian musical culture has very strong roots, and is thriving still. Tucked away in the far north, Bergen may be a hidden treasure, but, as this performance proved, it's world class.
The journey is always the same, and never the same. San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster. It felt rather decadent to be sitting in an opera house at 12pm. In , concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. Not many maybe any of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around.
But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions. The last of the operas which Rossini composed for Italian theatres between , Semiramide has had only one outing at the Royal Opera House since , and that was a concert version in Here are five complete song sets by two of the greatest masters of French song.
The performers are highly competent. I should have known, given the rave reviews that their recording of modern Norwegian songs received. The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum Magic Flute , have it rendered as sung recitative Carmen , or have it spoken in the vernacular though the sung numbers may often be performed in the original language Die Fledermaus. Here is the latest CD from a major label promoting a major new soprano.
Aida Garifullina is utterly remarkable: Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes. Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.
This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary almost to the day since Singcircle first performed STIMMUNG at the Round House , and their final public performance of the piece. Andrea as some of us may have remembered it from time gone by.
Make him think the evil, make him think it for himself, and you are released from weak specifications. Austrian singer Elisabeth Kulman has had an interesting career trajectory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in , following an accident while rehearsing Tristan. But, the drama is a little less hyperactive, the characterisation less larger-than-life. From Boesch and Martineau, excellence is the norm. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.
Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. In composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon. A little wind and rain are nothing to worry about! Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall.
It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's year relationship with Salonen. It began life as a propaganda piece, Albion and Albanius, in , during the reign of Charles II, but did not appear on stage as King Arthur until when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly. There have been dozens of capable, and more than capable, recordings of Lohengrin.
Recording a major Wagner opera involves heavy costs that a record company may be unable to recoup. On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung. The two-act scenario had been devised by Hugo von Hofmannsthal and the screening was accompanied by a symphony orchestra which Strauss himself conducted. And, it certainly does look good. As a prelude to the season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend.
A number of those who performed in this event will be featured in roles during the coming season. POP audiences enjoy casual seating with wine, water, and finger foods at each table. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats. An astonishingly theatrical touch, but absolutely right. Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up. Three years into their MOZART project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.
Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia and by extension, the world with a crackling and melodious new stage piece, Elizabeth Cree. I have to confess, somewhat sheepishly, at the start of my conversation with Mark Padmore, that I had not previously been aware of the annual music festival held in the small Cotswolds town of Tetbury, which was founded in and to which Padmore will return later this month to perform a recital of lieder by Schubert and Schumann with pianist Till Fellner.
But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind. He is best known for having been composition teacher to Giuseppe Donizetti. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed.
It is a painful exposure of the fracture which separates the Sovereign King from the human mortal. Ten Days that Shook the World. Goerne adeptly interprets the paradoxical combination of hope and despair that underpins these works, deploying a graceful lyricism alongside a richer, darker bass register. An exceptional recording, probably a new benchmark. This Prom was all about places: The rare and somewhat interesting Rossini! Torvaldo e Dorliska comes just after Elisabetta, Regina di Ingleterra the first of his nineteen operas for Naples — a huge success, and just before Il barbiere di Siviglia in Rome — a failure.
South African actor, artist, multimedia artist, film and theater, now opera director William Kentridge has taken the world by storm over the past few years. And now Wozzeck at the Salzburg Festival. From time to time felicitous circumstances create impromptu masterpieces, like the Salzburg Whitsun Festival production of Handel's Ariodante that has continued just now into the summer festival. In the wake of the terrible fire at Grenfell Tower, the soprano Nazan Fikret decided to rally fellow performers and put together a concert to raise funds for those affected, and she has brought together a sensational line-up of both established and up-and-coming artists.
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It is hard to believe that an opera by Donizetti is receiving its American premiere at the Glimmerglass Festival, but such is the case with The Siege of Calais. Director Molly Smith knew just how to best succeed at staging the evergreen classic Oklahoma! Impeccable casting — see photos. German soprano Christiane Karg invited us to accompany her on a journey during this lunchtime chamber music Prom at Cadogan Hall as she followed the voyages of French composers in Europe and beyond, and their return home. That of Rossini in French and that of Lord Byron in English, Russian, Italian and Spanish , the battles of both Negroponte and of Missolonghi re-enacted amidst massive piles of plastic water bottles thousands of them that collapsed onto the heroine at Mahomet II's destruction of Corinth.
John Butt and the Dunedin Consort's recording of Bach's St John Passion was ground-breaking for it putting the passion into the context of a reconstruction of the original Lutheran Vespers service. A drill for the end of the world? At the start of the 20th century, French composers seemed to be conducting a cultural love affair with Spain, an affair initiated by the Universal Exposition of where the twenty-five-year old Debussy and the fourteen-year-old Ravel had the opportunity to hear new sounds from East Asia, such as the Javanese gamelan, alongside gypsy flamenco from Granada.
Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. Soprano Louise Alder has had an eventful few months. And, while the trademark doorstop Proms opera programme duly arrived containing full text and translation, one should celebrate the fact that - finally - we had surtitles on several screens.
This is the only disc ever devoted to the art of Sesto Bruscantini — Record collectors value his performance of major baritone roles, especially comic but also serious ones, on many complete opera recordings, such as Il barbiere di Siviglia with Victoria de los Angeles. He continued to perform at major houses until at least and even recorded Mozart's Don Alfonso in , when he was Since , the ARD—the organization of German radio stations—has run an annual competition for young musicians. Starting in , the CD firm GENUIN has offered, as a separate award, the chance for one of the prize winners to make a CD that can serve as a kind of calling card to the larger musical and music-loving world.
If there is any practitioner currently singing the punishing title role of Lucia di Lammermoor better than Brenda Rae, I am hard-pressed to name her. Once Apple releases macOS But because Apple's policy is to support the newest version of macOS and the two previous versions, there may be Macs that continue to receive operating system security updates but that will not be served by Microsoft with new Office features. Sign up to gain exclusive access to email subscriptions, event invitations, competitions, giveaways, and much more. Membership is free, and your security and privacy remain protected.
The location is excellent - not far from sights, shops, restaurants and bars but still a safe and quiet neighborhood. Truly value for money! It was lovely staying with Claudia and Peppe, we found a beautiful hostel with a nice atmosphere, although we did not like Catania itself too much.
I couldn't ask for better hosts. The room is big, and the place was conveniently located. Amazing stay with Rossana and her family. She was very kind at the beginning of my stay, inviting me to stay one more night because it was sort in our trip. The morning breakfast is quite fulling. I recommend to have a great day of sport before eating the meals she will prepare you, because you will have a lot of delicious food to taste.
Rossana and her family lent me a bike. She gave me lots and lots of informations about what I could do around Pedara, in cities around or on the Etna. Amazingly close to the Etna and quiet which is a luxury in Sicily. With a big garden, very cozy and clean. Rossana is very very very kind. We spent some days in this place with our baby, it was so nice!!!! Our stay at Rossana's place was great! Rossana is a responsive and helpful host with whom is very easy to communicate.
We really recommend to enjoy dinner made by Rossana. This place has a good location for those who want to visit and take a closer look on Etna. Rossana was the best host we could hope for. She assisted us at every opportunity, gave us plenty of information about Sicily especially the Catania area. The breakfast was amazing not to mention the special dinner she prepared for me and my partner which was scrumptious and delicious.
We also enjoyed a few brief chats about our personal lifes. Overall Rossana was the perfect host she was always there for us to assist us, and also made sure during the day that we were enjoying our trip. Grazie Rossana, you helped making this trip awesome and engraved a place in our hearts! Rossana's place is tucked up in the foothills of Mt. Etna surrounded by beautiful Sicilian countryside. The accommodations are clean, cozy and perfect for a family of four.
Rossana cooked dinner for us despite it being a holiday Easter which was amazing! Such a great value. We had enough left over to take with us on our flight out of Catania the next day. This was an amazing place to stay! First of all, the location is perfect if you want to explore the mountain etna and beautiful places around it. Furthermore, Rossana is a wonderful person and a host. She thought about everything!
We were advised what to see and where to eat in Sicily and everytime it was worth trying. Additionally, she offered and prepared breakfast for us as well as exceptionally tasteful Sicilian home-made dinner. I strongly recommend staying at Rossana's place! We spent great time at Rossana's house. Our host was very attentioned to details, what we particularly appreciate. We really recommande this place. We had a very pleasant stay at Rossana's place.
The room was clean and quite, and Rossana was very kind! Thank you for welcoming us! Giuseppe was really nice and he explained things about the city. The place and the bathroom were really clean and I felt very comfortable. It was an excellent option. Quiet and confortable place not far from the metro. Giuseppe is very friendly and we spent our first two days in Sicilia as nice as possible. My host Giuseppe is a wonderful guest, he makes sure everything is set to make your stay enjoyable. I enjoyed very much my short stay in Catania, and plan to come back soon.
Great place in Catania! Giuseppe was very nice and easy to communicate with before and during my stay. Comfortable and conveniently placed. If you are going by car, you may struggle to find somewhere to park, but with a bit of patient you will find a free space in any of the streets nearby. We could only stay one night, but we really enjoyed it nevertheless. We had a lovely room with a nice ensuite bathroom, everything was perfectly organized, tidy and clean. Arianna seems to be a lovely person, reliable and has great taste in decorating! Thanks a lot, we'll definitely come back! I had a great stay at Arianna's place.
The location was was perfect and the apartment was very clean. She was very helpful and responsive throughout the entire trip. Would definitely stay again! Great little place right in the middle of the historical city.
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Arianna was a great host, helpful and very responsive: Arianna hosted us with very little warning, but our stay at her place was perfect. Fantastic location, clean room and Arianna helped us out with loads of suggestions for what we wanted to do. We had a very short but nice time in Catania. The room is very closed from the historical center and restaurants. Thank you Arianna for your warmly welcom. Arianna's place is ideally located! It's super close to the center - yet with a more local feel - with the best local market around it in the mornings.
The room is clean and cozy. Arianna was very helpful and friendly. We'd stay here again and recommend it to others. The apartment is located in the heart of Catania and it's a cosy one. Arianna was very nice and friendly. It was quite pleasant to stay at her place. This is a really nice place to stay! Really central, with a beautiful view to etna!
And Emanuel and his family are all really nice! I highly recommend it: Posso solo ringraziare Emanuele e raccomandare questo appartamento a tutti coloro che vogliono passare dei giorni a Nicolosi e dintorni.
El desayuno muy rico. Lo mejor de todo la amabilidad de Emanuele. Io e la mia ragazza abbiamo soggiornato solo per una sola notte ma ci siamo trovati bene nell'appartamento in rapporto al suo prezzo e per l'ottima posizione, comodo al centro e alla stazione. Host disponibile con gli orari di check-in e check out.
We had a little bit of difficulty arranging a narrow window for our arrival, so we had to cut some of our plans for that day short and were a bit disappointed. However, the bed and breakfast is beautiful and extremely unique, so it was worth it in the end. Nice, confirtable quite place to spend time with family.
It is near Etna, nice designed. I am recommending it. Really lovely spot, we only spent one night here and it was a rushed stay at that, more of a transit but a great first night and not typical of what we saw on the rest of the trip given we stayed along the coastal parts. Maria puts on a huge huge generous breakfast and also suggested a great local restaurant where the portions were equally large!
She is really lovely and if you want to explore Etna this would be a great base. We had a wonderful stay at Maria's place. It is a beautifully restored old building. Maria serves a great breakfast; fresh cake every morning! We enjoyed the fireplace, the view, the cleanliness and good showers. The Etna is close-by. Maria's place is very good and Maria is very polite. She helped us with everything we needed.
Our stay in the 'Palmento' of Maria was truly wonderful. She made our stay very pleasant and welcoming. The house is spacious and 2 good bedrooms. Maria makes a very generous breakfast and is a great baker! Every morning there was a fresh cake and pastery on the table. The location is very good to visit Taormina and Serycuse as well as -of cours - the Etna.
The landscape and the house were stunning and we've had a wonderful time at their apartment. It's really close to the etna and the city center of pedara. We would definitely recommend this apartment to others. The hosts are super nice and built the house by their own, it has so much Charme.
Antonio and his wife were super hosts, friendly, helpful and welcoming. Nothing was too much trouble and they went above what we expected. They brought us out melon when we were at the pool, wine and aperitif some evenings. We loved their animals especially the youngest dog. Antonio and his wife are the best Airbnb hosts. Giovanni and Patricia really make you feel very welcome. They actively surprise you with small things while you are there without being intrusive.
Giovanni even drove us to the village to show best parking places and a more traditional restaurant. They only recently started this place and showed us pictures of what it looked like before they started. They made it wonderful. It is close to the southern side of Mt Etna, but we also drove around to the other side in a bit over half an hour.
The other side is more silent and a nice place for walks. We stayed in one of the apartments. We really loved staying there having a very relaxing time while enjoying the pool, the barbecue area and the lovely view. Patrizia and Giovanni are very helpful and easy-going and welcomed us with olives, cheese and wine, making us have a lovely start of our holiday. The main building is an old wine factory which has been restored with passion and love by the owners.