Live performance from Schwetzinger Festspiele, 1988. What sets this IL BARBIERE DI SIVIGLIA apart from all others available is its elegant realism. None of its visuals are the least bit cartoonish or blatantly designed for comedy. Dr. Bartolo’s house is a stark, stern-looking structure of plastered brick with a comfortable yet plain, white-curtained interior, while the costumes are highly realistic 18th century garb in subdued colors. Yet despite its fairly austere appearance the production is delightful, thanks to its performers and staging. The stage business is lively, witty and free of excessive slapstick, and every singer brings his or her character to life, all offering rich, vibrant characterizations that strike a perfect balance between comedy and humanity.
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This production is a gala affair; the sets are traditional (evocative of 18th-19th century Spain); the lighting is bright, so colors are good and one can see all of the action. Singers are generally well chosen and perform admirably. However, at this point, slight reservations creep in; although Janowitz (Fidelio/Leonore) and Kollo (Florestan) look "good" and act well, the singing parts tax them a bit when pushed to the limit. Most of the time that doesn't matter, and an argument can be made that a little vocal strain is in character with their dire plight. Ideally, for me, Vickers as Florestan would have added extra vocal heft and more sensitive acting than Kollo.
Mozart: Le Nozze di Figaro
David McVicar's spellbinding production of LE NOZZE DI FIGARO is set in 1830s post-revolution France, where the inexorable unravelling of an old order has produced acute feelings of loss. In the relationship between Finley's suave, dashingly self-absorbed Count and Röschmann's passionately dignified Countess, which lies at the tragic heart of the opera, the sexy ease between a feisty Figaro (Erwin Schrott) and a sassy Susanna (Miah Persson) is starkly absent, the tenacious spark between Marcellina (Graciela Araya) and Bartolo (Jonathan Veira) suggesting what might be rekindled. The production is superbly complemented by the beauty of Paule Constable's lighting and Tanya McCallin's evocative sets. Antonio Pappano conducts (and accompanies the recitatives) with invigorating wit and emotional depth.
Cendrillon
Massenet composed his opera about Cenerentola nearly 80 years after Rossini did his. And if you are looking for the outburst of the non-stop hilarity and the musical jokes of Rossini, you won't find it here. Also, while the Cendrillon was highly successful and popular in its time, it does not reach up to the artistic and musical levels offered by Massenet's other operas, like Manon, or Thais or Werther. Nevertheless, this is a delightful opera and it is well presented by The Royal Opera. Laurent Pelly created a ingenious setting with movable walls which are covered [in French] with the story of Cinderella, and which open and close book-like.
Carmen
Jonas Kaufmann and Anna Caterina Antonacci bring rare erotic intensity to the drama of Don José and Carmen in this darkly passionate reading of one of the most popular operas. Kaufmann uses his burnished tenor and smouldering good looks to portray the man undone by Carmen's love. As the object of his desire, Antonacci gives a physical and compelling performance.
Don Giovanni
Live performance from Salzburger Festspiele in 1987. Herbert von Karajan conducting the Wiener Philharmoniker and Wiener Staatsopernchor. Stage director Michael Hampe. Starring Samuel Ramey and Anna Tomowa-Sintow.
Cardillac
Wolfgang Sawallisch conducts this acclaimed staging of Paul Hindemith's ambitious opera of the goldsmith Cardillac, whom fortune seems to favor and then abandon, featuring Donald McIntyre and Maria de Francesca-Cavazza in the starring roles. Filmed in 1985 at the Bavarian State Opera and directed by the legendary Jean-Pierre Ponnelle, the production captures every nuance of Hindemith's powerful tale of love, suspicion and betrayal. Opera Performance, recorded at 16-25 September 1985 at the National Theater in Munich.
Tancredi
Live performance from Schwetzinger Festspiele, 1992. Based on Voltaire's tragedy, TANCREDI is a story of innocence wronged set against a backdrop of Turks at war with Syracuse. Amenaide, the daughter of Argirio, leader of the senate, is in love with the exiled knight Tancredi. Argirio offers Amenaide's hand in marriage to Orbazzano, the leader of a rival faction, as a token of reconciliation. Amenaide resists this and sends a letter to Tancredi, who is back in Syracuse in hiding. The letter is intercepted, and it is mistaken as an invitation to the Turk Solamir to enter Syracuse. Amenaide is sentenced to death for treachery, but Argirio allows a champion to fight for her vindication... will her beloved Tancredi save her? Bernadette Manca di Nissa, Maria Bayo, and Raul Gimenez star in this Rossini opera with Gianluigi Gelmetti conducting the Radio Symphony Orchester Stuttgart.
Die Entführung aus dem Serail
Production of Mozart's opera about the Spanish nobleman who seeks to rescue his beloved Konstanze from the hands of the Pasha. Karl Bohm conducts the Chorus and Orchestra of the Bayerischen Staatsoper with the right balance of serious purpose and light lilting lyricism. This production, staged by August Everding with set and costume design by Max Bignens, was filmed from a live television production relayed on the First Programme (Channel 1) of German television on 25 April 1980,
Il Barbiere di Siviglia
Live performance from Zürich Opera House, 2001. “Vesselina Kasarova’s Rosina turned this Barber into a major event. Pearling coloratura, endless resources of vocal colour and nuance and phenomenal acting versatility became mere means to an end: that of making Rosina into a human being of flesh and blood, with heart, humour and considerable brains.
Don Carlo - ROH
Rolando Villazón Triumphantly Returns To The Stage As Don Carlo In The 2007/2008 Royal Opera House'S Producton Of Don Carlo. National Theatre director Nicholas Hytner's new staging of Verdi's grandest-- and arguably greatest -- opera, Don Carlo, was the highlight of the 2007/2008 Royal Opera House season. This new production marked Rolando Villazón's much anticipated and triumphant return. Set amidst the political, religious and sexual intrigue of the 16th century Spanish court, this epic work tells the tragic story of Don Carlo, a virtuous young prince who is pitted against the powers of a dominant, corrupt society. First staged at The Royal Opera House in 1886, this new production is the first new version of the 5-Act complete opera to be staged at Covent Garden in 50 years. With sets and costumes by Bob Crowley, direction by Nicholas Hytner, and an enviable cast, this production of Don Carlo is worthy of the greatness of Verdi's original, masterful work.
Robert le Diable
Recorded live at the Royal Opera House, December 2012. Daniel Oren conducting Royal Opera House Orchestra and Chorus. A grand opera that dominated the stages of Europe for most of the 19th century, Robert le diable is a masterpiece. Director Laurent Pelly breathes new life into Giacomo Meyerbeer's great spectacle and audaciously entertaining moral fable, in this colourful new staging for The Royal Opera.
The Barber of Seville
23-year-old Gioachino Rossini completed his masterpiece IL BARBIERE DI SIVIGLIA incredibly quickly – legend has it in just 13 days – which Rossini attributed to ‘facility and lots of instinct’. The opera, characterized by youthful energy and bold wit, has all the ingredients for comic chaos: an imprisoned young woman, her lecherous guardian and a young noble suitor. Skilfully plotting behind the scenes is Figaro, an irrepressible and inventive character in whom many have seen a resemblance to the young Rossini himself. The score fizzes with musical brilliance, from Figaro’s famous entrance aria to the frenzy of the Act I finale. This recording sees Joyce DiDonato (Rosina) bring literal meaning to the old theatrical motto Break a leg! She did just that in an earlier show but was determined to finish her commitment and was re-staged into the production to allow for the additional challenges that come when a leading lady in a lively physical role must wheel around the other performers...
Adriana Lecouvreur
Starring Angela Gheorghiu as the celebrated French actress Adriana Lecouvreur and Jonas Kaufmann as her lover Maurizio, Count of Saxony, Cilea s verismo drama explores celebrity, romance, jealousy, and death. The trio of sublime voices is completed by Russian mezzo-soprano Olga Borodina as Adriana s jealous rival, the Princess de Bouillon. David McVicar s hit production the first performance of the opera at the Royal Opera House, Covent Garden for more than a century presents the life of the French actress as a blurring of the distinction between fantasy and reality. The action revolves around a life-size Baroque Theatre, taking us from the bustle and colour of the first act backstage at the playhouse, to the bare final scenes as the drama reaches its fatal climax.
Rigoletto - Semperoper Dresden
Both Florez and Diana Damrau brought their bel canto expertise and superb vocalism to the service of Verdi's music. The Rigoletto, Zeljko Lucic, ran the gamut from tenderness with his Gilda to thundering fury with everyone else. I also liked the production. At first, when Rigoletto was putting on his grease paint during the overture, I was afraid that it might be a typical "Euro-trash" production, with a bit of warmed over I Pagliacci. But the sets and dramatic action really served the music and libretto. I would have to say that I came to a deeper understanding and appreciation of the story and characters as a result of seeing this performance.
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