wed 18/09/2019

Opera Features

Lorin Maazel (1930-2014) on Puccini's Golden Girl

David Nice

I met one of the 20th century’s most impressive, if not always sympathetic, conductors twice, on both occasions to talk Puccini before La Scala recordings of La fanciulla del West (The Girl of the Golden West) and Manon Lescaut.

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Nightmare in Aix: Sarah Connolly on a shocking first night

Sarah Connolly

I felt so shocked by the events that took place during the premiere of Handel’s Ariodante on 3 July in the Festival d’Aix-en-Provence last week, and so disappointed that our painstaking work with director Richard Jones over the last six weeks had been so comprehensively ruined, that I felt I should document what happened.

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First Person: Who is Mozart's fake garden girl?

Frederic Wake-Walker

La finta giardiniera is about seven characters in search of love. They are all pretending to some extent – they are not being truthful to themselves. It’s a classic Mozartian conceit which comes back in Così fan tutte in particular but also in Le nozze di Figaro – that, in order to love someone, you need to know yourself. Finta is about these seven characters coming to some level of understanding by the end, and therefore being able to love each other.

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Extracts: John Tusa - Pain in the Arts

ismene Brown

In the midst of ferment as the arts world faces fast-shrinking public subsidy, Sir John Tusa, former managing director of the BBC World Service and the Barbican Arts Centre, publishes this week a brisk new book that urges arts and politicians to reject the emotive clichés and lazy token battles and focus on what matters. In Pain in the Arts, Tusa urges that both sides take personal responsibility for an essential part of human life.

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theartsdesk in Dresden and Berlin: Happy Birthday, Richard Strauss

David Nice

Richard Strauss was born in Munich 150 years ago today. Christian Thielemann is celebrating the fact by conducting the Staatskapelle Dresden in the juiciest of all-Strauss operatic potpourris, a festive concert to be held in the city’s glorious Semperoper. What wouldn’t I give to hear Anja Harteros, alongside Anne Schwanewilms the loveliest of Strauss sopranos, and chaste nymph Daphne’s metamorphosis into a laurel in a peerless operatic epilogue?

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theartsdesk in Budapest: Magyar Strauss

Roderic Dunnett

If the Hungarian State Opera wanted to demonstrate that it is now back on top form, it could not have chosen a better way than this six-opera celebration of Richard Strauss’s 150th anniversary. Mahler conducted here before moving to Hamburg, Vienna and New York. Filled with new ambition, after a contractual shake-up under General Manager Szilveszter Ókovács, Budapest displays revitalised strength and amazing depth in all departments.

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Caspar Gomez hits Glyndebourne Opera Festival

Caspar Gomez

It’s certainly different from the Glastonbury shuttle, I’ll tell you that. I’m sitting with Finetime on the minibus that takes festival-goers from Lewes Station to the opening day of Glyndebourne Opera Festival 2014.

Finetime’s looking very much the peacock today, a suit of many colours and he’s even wearing an earring with a blue feather. I clank my Asahi beer against his.

“The first of too many,” I say.

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theartsdesk Q&A: Conductor Robin Ticciati

David Nice

Poised when I met him six weeks ago between 40th anniversary celebrations of  the Scottish Chamber Orchestra, of which he has been a shaping chief conductor for the past five years  and putting his new music directorship of Glyndebourne into action, Robin Ticciati hardly seemed like a man in positions of power, more an idealistic youth with a touch of the dreamer softening a powerful intellect.

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Remembering Sir George Christie (1934-2014)

Brian Dickie

I started work at Glyndebourne in 1962 at the age of 20 and remained there for 27 years, for the last seven of which I was General Administrator. Throughout that period George was Chairman of Glyndebourne Productions, and my ultimate boss. 

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theartsdesk in Sydney: Beyond the Cringe

alexandra Coghlan

I hadn’t heard the term “cultural cringe” until I went to live in Australia. Holiday encounters had been so full of sunshine, art, water and music that it hadn’t occurred to me to doubt the cultural confidence and energy of the nation that gave us Patrick White and Peter Carey, Baz Luhrmann and Brett Whiteley, Joan Sutherland and Robert Hughes. But once I did, the phrase was everywhere.

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