Washington National Opera opened its 2016-17 season last week with an uneven, unjaded, if not unenjoyable, performance of Mozart’s The Marriage of Figaro that just couldn’t turn separate “jinx” from the desired “hijinks.”
Broadway and classical icon Audra McDonald and minimalist composer Philip Glass were among the 12 recipients of the 2015 National Medal of Arts which were awarded in a ceremony in the East Room of the White House this morning.
This was Così, straightforward and unaltered. While it would have been great to see Christophe Honoré’s provocative production, what arrived at Lincoln Center was a musical presentation of the highest quality.
A misguided “Sweeney Todd” and an adaptation of “The Crucible” round out a weekend at the Glimmerglass Festival.
While this performance was cast to perfection from top to bottom, the success of Sunday’s presentation was due in no small part to the incredible Leonore of Elza van den Heever, her first performance of the part.
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.
Clocking in at nearly four hours and receiving a uniformly committed and capable presentation from the Bel Canto at Caramoor forces, this Rossini rarity is a fine example of the young composer’s music that would only tighten, both musically and dramatically, as his career progressed.