From the Bayerische Staatsoper Munich 1995 Recorded under studio conditions from the stage of the National Theatre in Munich, David Alden’s challenging production of Tannhäuser is a desolate ‘endgame’, far-removed from traditional, representational stagings. One of the most iconoclastic interpreters of classical opera, Alden stirs up the visionary, erotic and archetypal elements in Wagner’s work. The Bavarian State Opera fields a top-flight cast of Wagnerian singers includes René Kollo in the title role, Waltraud Meier, Jan-Hendrik Rootering, Claes-Håkon Ahnsjö, Bernd Weikl and Nadine Secunde. Zubin Mehta conducts a musically outstanding performance. (Sung in German)
The Fiery Angel
Valéry Gergiev is said to be at his best when interpreting Russian composers. Convincing evidence is given with this production of Sergei Prokofiev’s “The Fiery Ange”l from the Mariinsky Theatre in St. Petersburg. Prokofiev’s disturbingly enigmatic opera was never performed during his lifetime – it was considered too decadent by Stalin and his successors – but David Freeman’s imaginative production asserts it as one of the composer’s greatest masterpieces. Galina Gorchakova and Sergei Leiferkus inspire with brilliant performances in the two main roles.
The opera is derived from a novel by the Russian decadent Valéry Bryusov. Ostensibly, it is a tale of religious hysteria and demonic possession and also explores symbolically the love triangle endured by the writer and his self-destructive lover, the poet Nina Petrovskaya.
David Freeman has completely entered into this opera’s strangely unnerving world. Evil is all around us and in his sensational production the image is taken quite literally.
Capriccio
From the San Francisco Opera 1993: Dame Kiri Te Kanawa has made the role of the Countess in Capriccio her own and her performance in Stephen Lawless’s San Francisco Opera production met with high critical praise. Her suitors are sung by David Kuebler and Simon Keenlyside and the cast also includes Tatiana Troyanos in her last role, Håkan Hagegård and Victor Braun. Richard Strauss’s opera about opera is set in the eighteenth century and the period is evoked poetically in Mauro Pagano’s exquisite salon set and Thierry Bosquet’s lavish costumes. (Sung in German)
Turandot
This performjance is a presentation of no more and no less than the perfect blend of two human senses: a music lover’s eye and ear will both experience the very finest quality production. Alone the star-studded vocal ensemble, under the direction of internationally renowned director David Runnicles, guarantees a satisfactory interpretation of Puccini”s majestic opera. The aria, “Nessun dorma,” which has now become a global hit, is sung by the young Indiana-born tenor Michael Sylvester as Calaf. At the vanguard of the contemporary art genre, David Hockney has been hired as both director and designer to contribute his experience to this well-staged opera project.
Il barbiere di Siviglia
For his first opera production, Dario Fo, the theatre director known for his brilliant wit, chose to stage Rossini’s Il barbiere di Siviglia for the Netherlands Opera. First mounted in 1987, it was a huge success and a live recording of ist revival in May 1992, the 200th anniversary of Rossini’s birth, has been made.
Fo has said that ‘Rossini is the musician of eating and love. He composes music rich in herbs and aromas, in which you find olives, tomatoes, fish, grapes, roses and rosemary, sheets and tablecloths, dry wine and the laughter of girls.’ His ‘Barbiere’ is a joyful carnival. During the overture he fills the stage with carnival revellers and immediately the commedia dell’arte origins of opera buffa are restored. Visual theatrics abound, never at the expense of the music, but highlighting it, engaging the eye as well as the ear. Fo addresses the heart more than the intellect and Rossini’s comedy comes up dazzling and vital.
La clemenza di Tito
La Clemenza di Tito was commissioned to celebrate the coronation of the Emperor Leopold II as King of Bohemia in 1791, and was written in eighteen days. Nicholas Hytner’s elegant new staging, performed in the original Italian language, was premiered during the Mozart Bicentenary season at Glyndebourne on 28th June, 1991. An impressive cast is led by Philip Langridge (Tito), Ashley Putnam (Vitellia) and Diana Montague (Sesto). New recitatives, to replace those written by Mozart’s pupil Süssmayr, were commissioned from composer Stephen Oliver for this production. Andrew Davis conducts the London Philharmonic Orchestra.
War and Peace
From the Kirov Opera St. Petersburg 1991 This production marked an historic ‘first’ collaboration between Russian and British operatic talent. Producer Graham Vick, designer Timothy O’Brien and lighting designer Matthew Richardson mounted a War and Peace that was revolutionary in staging terms for the Kirov Opera. The galvanic conductor Valery Gergiev fielded a cast of the company’s finest singers, including Nicolai Othotnikov, Irina Bogachova, Yuri Marusin and Yelena Prochina, supported by a huge, expertly-rehearsed chorus. The impact of this War and Peace is formidable. (Sung in Russian)
Carmen
From the Royal Opera House, Covent Garden 1991 Bizet’s much-loved opera, a fateful story of jealousy and passion, was staged at The Royal Opera House, Covent Garden in a quintessentially Spanish production by the eminent director Nuria Espert, with designs by Gerardo Vera and costumes by Franca Squarciapino. Zubin Mehta conducts an outstanding cast, with Luis Lima as Don José, Gino Quilico as Escamillo, Leontina Vaduva as Micaela and starring the sensational Maria Ewing, aloof and magnetic, in the title role she has made her own. (Sung in French)
Die Fledermaus (The Bat)
From the Royal Opera House, Covent Garden 1990: This effervescent operetta is a perennial favourite and John Cox’s production was a glittering setting for Dame Joan Sutherland’s farewell to The Royal Opera House, Covent Garden. She received a standing ovation when she appeared as one of the guests in the party scene, together with Luciano Pavarotti and Marilyn Horne. “The gala was surrounded by a really first-rate performance of Fledermaus” (London Evening Standard), with Richard Bonynge conducting a fine cast, including Nancy Gustafson, Louis Otey and Jochen Kowalski.
Fidelio
“Those in search of a thoroughly teutonic Fidelio should speed to The Royal Opera House, Covent Garden. It moves swiftly and surely, is powerfully cast and is conducted with fine muscular authority by Christoph von Dohnányi,” wrote The Times of this production by Adolf Dresen, which starred Gabriela Benacková and Josef Protschka. Designed in an austere but traditional style by Margit Bardy, it conveys Beethoven’s theme – the triumph of love and freedom over the forces of evil and oppression – with a natural, unadorned simplicity.