Working with an ensemble that obviously had deep feeling for the music, Noseda drew thoughtful, balanced playing from the utterly responsive LSO. All throughout, his controlled-yet-fluid conducting reflected the grandiose scale of the piece, a monumental expression of mourning and human confrontation with death.
Pietro Mascagni’s grim opera about a stultifyingly naïve girl who is kidnapped from her blind father by a lecherous young man and then sold into prostitution in legendary Japan seems unnecessarily nauseating and indeed, it sometimes feels that way. But sordid stories often yield stunning operas, and Iris, now seeing the light of the sun (Ha!) in a rare revival as part of Bard College’s 2016 SummerScape festival, is everything verismo should be: Devastating, provocative, and direct.
They may make a mismatched pair, but both Die Entfürung aus dem Serail and Elektra (especially Elektra) are being executed with great care at the Met.
Luca Salsi, Anna Pirozzi, Francesco Meli, and Michele Mariotti make a strong case for Verdi’s “I Due Foscari” at Teatro alla Scala.
The English Concert, in their annual Carnegie Hall operatic appearance, never fails to impress, and intelligent, confident music making at Sunday’s performance of Handel’s Orlando made a sterling case for Baroque opera as exciting theater.
Winning performances by Javier Camarena and Eleonora Buratto dominate this uneven-yet-enjoyable revival of Donizetti’s “Don Pasquale” at the Met.
The triptych of Gaetano Donizetti’s Tudor Queens is a famously challenging cycle for any diva. Most notably sung by Beverly Sills at New York City Opera, the three queens at the centerpieces of Donizetti’s Anna Bolena (Anne Boleyn), Maria Stuarda (Queen Elizabeth OR Mary Stuart, depending on what angle you come from), and Roberto Devereux […]