Opera

Mozart’s “Haffner” Symphony: Music of Celebration

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A new commission was the last thing the 26-year-old Wolfgang Amadeus Mozart wanted in the summer of 1782. He had just moved to the musical mecca of Vienna, shaking off the provincialism of his native Salzburg and its “coarse, slovenly, dissolute court musicians.” In addition to a busy teaching and composition schedule, he was getting ready to move to a new house in preparation for his marriage to Constanze Weber. But in July, 1782, …

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A Snapshot of Figaro

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Last month we listened to an excerpt from Yannick Nézet-Séguin’s great new live concert recording of Mozart’s The Marriage of Figaro with the Chamber Orchestra of Europe. Here are a few more highlights from that recording. Almost all of Mozart’s music grows out of opera. Passages from the symphonies and concertos can be heard as wordless arias and duets. It’s as if Mozart couldn’t shut off the stream of characters and vague hints of far-off dramatic …

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New Release: Yannick Nézet-Séguin’s Marriage of Figaro

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Today marks an exciting and long-anticipated release in the world of opera: conductor Yannick Nézet-Séguin’s brand new live concert recording of Mozart’s The Marriage of Figaro with the Chamber Orchestra of Europe and an all-star cast. Nézet-Séguin was recently named successor to James Levine at the Metropolitan Opera, perhaps the most visible opera post in the world. This disk, recorded live at the 2,500-seat Baden-Baden Festspielhaus, is the latest in a series of Mozart operas Nézet-Séguin has released on the Deutsche Grammophon label. …

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The Letter Scene from Eugene Onegin

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Forget about emails and text messages. When it comes to opera, it’s the handwritten letter, with all of its tactile emotional significance, which emerges occasionally as a dramatic device. There’s the famous “Letter Duet” from the third act of Mozart’s The Marriage of Figaro, in which Countess Almaviva dictates to Susanna, who repeats the lines as she writes. The Countess’ written invitation is part of a plot to expose her husband’s infidelity. Then there’s O mon cher …

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Puccini’s Butterfly: Opera’s Most Tragic Mother?

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Opera is full of deranged mothers. Consider The Queen of the Night from Mozart’s The Magic Flute. In this fiery aria (one of the most famous, and virtuosic in all of opera) she pays a terrifying visit to her daughter, Pamina. The vengeful Queen of the Night gives Pamina a dagger and vows to disown her if she fails to assassinate Sarastro. Or consider Bellini’s Norma who contemplates murdering her two children in their …

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A Brief Look Back at James Levine’s Tenure at the Met

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Last week, the Metropolitan Opera announced that James Levine will be stepping down as music director after four decades and 2,551 performances. Levine, who is 72, has been battling Parkinson’s Disease along with other ailments. Levine, who became music director of the Met in 1976, has been credited with raising the level of the company. In this interview he reflects on some of his achievements. Recently, Alex Ross summed up Levine’s tenure …

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Hindemith’s “Flying Dutchman” Parody

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If you’re a longtime Listeners’ Club reader, you know that I’m often playing opera this time of year. This month I’ve been staying busy with Virginia Opera’s production of Wagner’s The Flying Dutchman.  The Flying Dutchman is the work of a young, 26-year-old Wagner. In many ways, it anticipates the more mature, leitmotif-laden Wagner operas which would follow. Wagner ultimately broke down the traditional “stop and start” recitative-aria structure that had previously been the structural …

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