“Co-Opera” has long been a popular and much cheaper one, to a fully staged speech. Some viewers will miss out on luxurious sets and costumes, but many will appreciate the opportunity to focus on music rather than being distracted by the “crazy” modern work. Valued organizations like the New York Opera Orchestra have stopped fighting, while others, such as the Washington Concert Opera, continue to offer lesser-known works and exciting Rise Stars.
The Symphony Orchestra occasionally adds a subscription series along with concert operas. Recently, there have been two programming, for obvious different reasons, programming a pair of remote related works. Leon Botstein of the American Symphony Orchestra (ASO) has long been a passionate advocate for Richard Strauss’s lesser-known work, and this year he urgently tried to refute the lower reputation Cannonthe composer’s first opera at Carnegie Hall.
To end its 2024-25 season, the Philadelphia Orchestra has programmed Wagner’s “Keep More Familiar Ground” Tristan und Isolde As a field trial for its music director Yannick Nézet-Séguin, he will lead the highly anticipated new Wagner production at the Metropolitan Opera next year. If Botstein’s heroic efforts fail to convince Cannon The first exciting work of Nézet-Séguin is the unfair work Tristan The debut of Yuval Sharon’s metropolitan premiere next March by director Yuval Sharon raises expectations.
In 1998, Botstein proposed Strauss’s DieägyptischeHelena This performance was repeated five years later at a concert with Deborah Voigt at Avery Fisher Hall, and later released the show on CD, as did ASO’s subsequent performances Die Liebe der Danae. Recently at Bard Summerscape, Bard led Die Schweigsame Fraufollowed by daphne In Carnegie Hall. Everyone reveals what these flawed but meaningful Strauss operas deserve attention. However, CannonThe taboos and unreliable language of abandonment in the medieval era (composer) are convincing, if the score lasts for two hours, then the challenging and challenging challenges in the medieval era, even if the score lasts for a person’s patience.
Unheard of since the New York Opera Orchestra was proposed in 1982 Cannon At least give the audience a chance to hear John Matthew Myers, a brilliant budding Heldentenor who conquered the evil demands for the champion role with tireless grace and pleasant enthusiasm. It is often said that Strauss hates tenors because he gave them such hard music, but Miles strides forward with a sweet and uplifting tone and consistently serious dramatic participation.
On the other hand, as his unavailable love object, Freihild (the only opera role written by Strauss for his wife Pauline de Ahna), soprano Angela Meade, the wife of Myers and many formerly veterans of concert opera, seems to show unsatisfiedly that her lush voice is on the thrilling thrilling line of Strauss. The dramatic passage of despair or ecstasy sounds like she rarely glances from his score.
However, others in the cast have shown more involvement, especially Kevin Short on his best local outing recently, the Duke and Alexander Birch Elliott, the cruel husband of Freihild. The glittering tenor Rodell Rosel provides much-needed battalion energy as the old duke’s fool. Bard Festival Chorale’s passionate men want their contributions longer, and ASO plays with exquisite enthusiasm under Botstein’s sometimes too steady hands.
When Strauss is formed Cannonhe is 30 years old, far from beginners. His Popular Songs Don Juan and Tod undverklärung It has premiered, soon after Until Eulenspiegels lustige streiche and Don Quixote. The orchestral writing of the opera is foreseeable, but although he wrote many of the most popular songs at that time, CannonThe voice writing repeatedly aims to excite the Wagner-like seats, but does not soar.
Worse, the clumsy libretto and the Wagners of its slaves reverberated the wood, heading towards the finale of li. For example, Cannon Singing inappropriate songs (Tannhäuser) Meistersinger– Inappropriately falling in love with the leader’s wife like a rally (very Tristan– style). But, als, there is no final deformation.
Just like most concert operas CannonSingers line up in front of the band and perform from the music stands. But, Philadelphia Orchestra Tristan It was boldly staged by Dylan Evans on an elevated temporary platform erected behind the band. The singer’s performance has no score, interacting with moderate APT blocking and no props. Love potion without cups, and sword Tristan.
Nézet-Séguin’s cast is top-notch from top to bottom. Jonghyun Park is a young typical tenor who is strongly open in the afternoon when sailors are sailors, and the character is usually performed on stage. But Park sings are more prominent from a location on the second balcony of the newly reborn Marian Anderson Hall. Freddie Ballentine Porgy and Bessthe surprisingly creepy Melotte proved.
See also: Jean Smart
Mezzo Karen Cargill of Scotland was impressed by the involved and extremely sympathetic Brangäne, who instantly discovered the highest notes of her character. Like many Brangänes, Cargill’s warning in her long lovers did not easily surface high from her perch. Brian Mulligan embodies a keen Kurwenal, although the grand band of Kengein is occasionally obscured. Bass Tareq Nazmi expresses sublime pain at Mark’s long monologue, full of impatient anger.
Although his future Metropolitan actor will be in the championship roles with Newbies Lise Davidsen and Michael Spyres, Nézet-Séguin chose experienced veterans Nina Stemme and Stuart Skelton for his first stabbing Tristan. The two jointly premiered the Metropolitan previous work in 2016, before co-starring in the Aix-en-Provence Festival in Simon Stone’s controversial “Metro” Tristan.
Despite the bumpy moments in the busy opening Liebesnacht Sequence (in its traditional cut), Skelton sings admirable freshness and control; both he and Miles are Cannon Avoiding the ugly “barking”, which is often encountered in Wagner and Strauss’ performances. Although he is not the most subtle actor, he is TristanA painful third act hallucination, hair intensity and penetration, the hall filled with treble.
For twenty years, Stemme has been Scandinavian Isolde, occupying the opera stage for Kirsten Flagstad and Birgit Nilsson in front of her. The route may soon include Norwegian Davidsen, who returned to Barcelona’s first Isolde from maternity leave in January. Last year, Stemme made his last show in Isolde in Palermo, announcing that the Philadelphia Orchestra’s performance would be the last stop of her Isolde bid farewell to the world tour. At 62, she showed no sign that she planned to retire. Instead, she has been adding new, lower character roles that demand less demands on the highest registers that are now backing off.
She has achieved great success Kostelnicka Jenufa And plan to add another Janáček opera, Makropoulos case. She plans to go from Wagner’s Brünnhilde Götterdämmerung With La Scala installing a new loop cycle. Last fall, she worked as a nurse at Strauss DeadBut her extensive music shows uneasyness and does not rule her scenes like a good nurse.
Despite the excitement of her first act as an angry act, her uneven appearance makes her notice that it’s time to move on. Her habit of leaning the treble backwards was more obvious than ever, and almost all staff were just briefly attacking. Her vibrant range shrinks a lot, so there is little soft singing, and most of the afternoon she is uneasy from f arrive FFF. A slight but obvious swing twisted the line so much that she concluded LiebestodEven at the thoughtful rhythm of Nézet-Séguin, she was bland, even though she gently brushed the last piano “Lust”.
2024-25 is a particularly good season for Nézet-Séguin’s German opera project. He led a satisfying performance Dead and Salome In the Metropolis Tristan The most sensitive thing is that neither too fast nor too loud the two are allegations against him. His “Other” bands have shown a huge response to Philadelphia’s strings, especially the intoxicating richness.
