Happy Birthday, Plácido Domingo

A belated happy birthday to Spanish tenor Plácido Domingo who turned 75 yesterday. In recent years, Domingo has remained active. As his voice has aged, he has successfully transitioned into baritone roles. Additionally, he has branched out into conducting. He currently serves as general director of the Los Angeles Opera, a position he held previously with the Washington National Opera. He has released numerous popular albums. In this clip from the late 1980s, you can see …

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Mr. Noseda Goes to Washington

The National Symphony Orchestra has announced that Italian conductor Gianandrea Noseda will succeed Christoph Eschenbach as its seventh music director. Noseda has developed a reputation as one of the world’s finest opera conductors. Early in his career, he was the first foreign-born principal guest conductor of the Mariinsky Theatre. Currently, he serves as principal guest conductor of the Israel Philharmonic and music director of the Teatro Regio in Turin, Italy. Between 2002 and 2011 …

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Winter Chill in Purcell’s "The Fairy-Queen"

This week we’ve explored musical depictions of winter, from Samuel Barber’s Christmas-themed Twelfth Night to Tchaikovsky’s youthfully inventive First Symphony. Perhaps no music captures the desolate gloom of winter more vividly than Now Winter Comes Slowly from the fourth act of English composer Henry Purcell’s 1692 opera, The Fairy-Queen. In this case, the term “opera” should be applied loosely. The Fairy-Queen, an anonymous adaptation of Shakespeare’s A Midsummer Night’s Dream, still has one foot firmly planted in the world …

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Béatrice et Bénédict: Berlioz’s Neglected Comedy

Béatrice et Bénédict, Hector Berlioz’s two act opéra comique adaptation of Shakespeare’s Much Ado About Nothing, isn’t exactly a staple of the modern opera repertoire. It gets occasional performances, but is commonly overshadowed by more famous Shakespeare-based operas: Giuseppe Verdi’s Macbeth, Otello, and Falstaff, and Benjamin Britten’s A Midsummer Night’s Dream.  But Béatrice et Bénédict was a smash hit when it premiered at the the Theater der Stadt in the German spa town of Baden-Baden on August 9, 1862. Berlioz referred to the …

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The Coronation Scene from Boris Godunov: Opera’s Biggest Spectacle?

From its origins in medieval and Renaissance courtly entertainment, opera has always been partly rooted in spectacle. Nineteenth century French grand opera used large casts, expanded orchestras, grandiose scenery, consumes and special effects, and ballet to bring to life epic heroic tales based on historical subjects. (Meyerbeer’s five-act Les Huguenots from 1836 is an example.) A sense of theatricality and spectacle is at the heart of the Triumphant March from Verdi’s Aida, set in ancient Egypt. History (this time recent) became …

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The Promise of Living: Copland for Labor Day

The Promise of Living, the soaring finale of Aaron Copland’s 1954 opera, The Tender Land, seems vaguely appropriate for Labor Day. Its libretto by Horace Everett (a pseudonym for Erik Johns) evokes the dignity and meaningfulness of labor. Honest work, in this case cultivating the soil of the American heartland and reaping the blessings of a rich harvest, is part of a balanced and fulfilled life: The promise of living with hope and thanksgiving is …

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Tannhäuser at the Vatican

To finish out the week, here is a particularly exciting performance of Wagner’s Overture to the 1845 opera, Tannhäuser. The clip comes from a special 2005 concert at the Vatican in the presence of Pope Benedict. Christian Thielemann is conducting the Munich Philharmonic. Tannhäuser is based on two German legends, one involving a singing contest at medieval Wartburg Castle, which sits on a rocky outcrop 1,350 feet above the town of Eisenach. The Overture opens …

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