Tag: Opera

  • Opera on Vinyl Korngold and Wolf-Ferrari

    Opera on Vinyl Korngold and Wolf-Ferrari

    Tomorrow morning I will have the honor of keeping the chair warm for Sandy Steiglitz, who will be taking the week off from her long-running show, “Sunday Morning Opera,” at WPRB. That’s a large bill to fill, so I’ll be bringing along not one, but two operas.

    Erich Wolfgang Korngold wrote “Violanta” at the age of 17. Already his second opera, composed in 1914, the work demonstrates the composer’s early mastery of large orchestral forces, rich, heroic vocal writing, and compelling stagecraft. It’s small wonder that 20 years later Korngold would revolutionize the Hollywood film score. He would be recognized for his efforts with two Academy Awards, for his work on “Anthony Adverse” (1936) and “The Adventures of Robin Hood” (1938). A good choice, then, for Academy Awards Sunday!

    The story of “Violanta,” set in 15th century Venice against the backdrop of Carnival, involves seduction, suicide, thirst for revenge, dawning compassion, and sacrifice. The music is intoxicating, and the recording, led by Marek Janowski – with Eva Marton in the title role, Siegfried Jerusalem as a sympathetic lothario, and Walter Berry as an insecure husband – is fabulous. Bruno Walter conducted the world premiere in Munich, so the choice of the Munich Radio Orchestra is an idiomatic one.

    We’ll follow up the opulent tragedy of “Violanta” with Ermanno Wolf-Ferrari’s fun and frothy comedy of marital misunderstanding, “Il segreto di Susanna” (“Susanna’s Secret”), composed in 1909. A man suspects his wife is having an affair when he smells cigarette smoke on her clothes. He attempts to get to the bottom of her “secret,” with amusing results. Renato Scotto is Susanna, Renata Bruson her husand, Count Gil, and John Pritchard conducts the Philharmonia Orchestra.

    In the process, we’ll inadvertently be observing the birthdays of Scotto (Feb. 24), Pritchard (Feb. 5) and Janowski (Feb. 18), along with those of Leontyne Price (Feb. 10), and Lotte Lehmann (Feb. 27).

    My choices are somewhat limited due to the requirements of WPRB’s All Vinyl Week. Still, I think I’ve managed to come up with some good material. I hope you’ll join me as I kick back with some caffeine and some good music, on “Sunday Morning Opera,” tomorrow from 7 to 10 ET, on WPRB 103.3 FM and at wprb.com.


    PHOTO: Massive spoiler alert!

  • Beethoven’s Fidelio US Premiere Moved Due to Snow

    Beethoven’s Fidelio US Premiere Moved Due to Snow

    At the heart of Beethoven’s opera “Fidelio” is the struggle against tyranny and the triumph of liberty and justice. However, lofty ideals mean little in the face of an impending blizzard.

    With the threat of perhaps a foot and a half of snow falling over the weekend, the period instrument orchestra Grand Harmonie made a prudent decision late last night to move their Saturday performance to this evening. So the U.S. premiere of “Fidelio” on authentic instruments will take place TONIGHT at 7:30 p.m. at Princeton University’s Richardson Auditorium.

    One additional tidbit which may be of interest – the performance will be streamed live over YouTube. You can enjoy it in real time here:

    Everything else remains as stated in my article in today’s Trenton Times:

    http://www.nj.com/times-entertainment/index.ssf/2016/01/classical_music_grand_harmonie.html

    More about Grand Harmonie at http://www.grandharmonie.org/.


    “…the
    Rain is no respecter of persons
    the snow doesn’t give a soft white
    damn Whom it touches”

    e.e. cummings

  • Placido Domingo Celebrates 75 Years

    Placido Domingo Celebrates 75 Years

    Happy 75th birthday, Placido Domingo!

    https://www.youtube.com/watch?v=hxdiJ74AL5Y

    Here’s a salute from Deutsche Welle:

    http://www.dw.com/en/the-durable-tenor-pl%C3%A1cido-domingo-at-75/a-18993974

    PHOTOS: Domingo (left), doing his best Puccini impression

  • “El Gato con Botas” Opera for Stormy Weekends

    “El Gato con Botas” Opera for Stormy Weekends

    It looks as if there’s a pretty good storm brewing for the weekend. As I shop online for new boots, enjoy these selections from the one-act opera “El Gato con Botas,” by the Catalan composer Xavier Montsalvatge.

  • Ezra Pound’s Opera A Shocking UK Premiere

    Ezra Pound’s Opera A Shocking UK Premiere

    Did you know that Ezra Pound wrote an opera?

    As a blow against Debussy and the pernicious influence of “Pelleas,” Pound contrived to write music of such rhythmic complexity as to leave “Le sacre du printemps” in the shade. Characteristically, the freewheeling poet described his method as “improving a system by refraining from obedience to all its present ‘laws.’” In other words, he was a proud contrarian.

    In 1919, when Pound was 34 years-old, he conceived “Le Testament de Villon,” an operatic setting of François Villon’s poem of 1461. An ardent champion of Trenton’s own George Antheil from the composer’s early days in Paris, Pound enlisted Antheil’s help in developing a system of micro-rhythms the better to express the vitality of Villon’s Old French. The two worked at it in 1923. In 1924, Pound wrote a book titled “Antheil and the Treatise of Harmony,” a piece of hagiography so extravagant that it succeeded even in embarrassing the composer.

    Preview performances in 1924 and 1926 brought criticism from the performers of the utter impracticality of the score. There are no rests or breath marks. There are crushing dissonances. The work’s demands call for scratches, hiccoughs, and the use of human bones in the percussion part.

    Virgil Thomson praised the piece. “The music was not quite musician’s music,” he wrote, “though it may well be the finest poet’s music since Thomas Campion.” Pound’s colleague, the poet William Carlos Williams, described him thus: “…He knows nothing of music, being tone-deaf. That’s what makes him a musician.”

    Excerpts from Pound’s “Le Testament de Villon” will receive a rare performance at the London Contemporary Music Festival on December 15. It is being advertised as the work’s UK premiere in its original version for two tins and a washboard. The first complete performance, in Antheil’s arrangement for small orchestra, was given over BBC radio in 1933.

    Subsequently, Pound began work on two other operas. Neither was ever completed.

    More about the upcoming performance here:

    https://billetto.co.uk/lcmf-2015-15-december

    Anyone remember this out-of-print Philips LP?

Tag Cloud

Aaron Copland (93) Beethoven (95) Composer (114) Film Music (129) Film Score (143) Film Scores (255) Halloween (94) John Williams (192) KWAX (229) Leonard Bernstein (103) Marlboro Music Festival (125) Movie Music (144) Mozart (88) Opera (206) Philadelphia Orchestra (89) Picture Perfect (174) Princeton Symphony Orchestra (108) Radio (88) Ross Amico (244) Roy's Tie-Dye Sci-Fi Corner (290) The Classical Network (101) The Lost Chord (268) Vaughan Williams (103) WPRB (396) WWFM (881)

DON’T MISS A BEAT

Receive a weekly digest every Sunday at noon by signing up here


RECENT POSTS