Conductor: Imre Palló/Director: John Milson Sydney Conservatorium of Music Until September 24 Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
This live recording of Beethoven’s sole opera Fidelio is from the 2010 Lucerne Festival, under the baton of Claudio Abbado. Together with the Mahler Chamber Orchestra/Lucerne Festival Orchestra the succeeds in contrasting dramatic impetus with lyrical subtlety throughout the performance. Few tenors are able to convey the conflicting suffering, near-dementia and inextinguishable hope in Florestan’s character, but Jonas Kaufmann produces a sound that is both heroic and nuanced. Meanwhile, Nina Stemme’s Leonore is rich and expressive, delivering a heartfelt aria but falling short of joyous brilliance in her duet with Florestan. Falk Struckmann sings a powerful Pizarro, perhaps lacking a bit of snarl at times but successfully portraying an insecure despot who is about to snap. The supporting roles are sung well, but not outstandingly so; they all lack a degree of dramatic involvement. Beethoven’s sublime chorus writing provides the Arnold Schoenberg Choir with plenty of opportunity to shine, especially in the affecting Prisoners’ Chorus. The only major weakness here is the spoken dialogue, which in some cases has been abbreviated into monologue, the content of which is dramatically incoherent and delivered unconvincingly by the principals. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber?…
Pianomania: The Greatest Pianists of All Time, James Rhodes, Angela Hewitt, the Vienna Phil and more. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Share the Sydney Opera House stage with Australia’s most popular leading men. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
La Stupenda is the face of the issue nominated for the 2011 Magazine Cover Awards.
The iconic tenor is bound for Australia for the first time in 15 years. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Melbourne Festival artistic director Brett Sheehy serves up a classical music feast like no other. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
The September 2011 issue of Limelight Magazine features a 70th-birthday interview with Plàcido Domingo, and we discover which concert hall is Australia's finest.
This fascinating opera has had an uneven reputation from day one. Although Boito is better known as the brilliant librettist to Verdi’s last two masterpieces, Falstaff and Otello, he was also a composer of some standing, and Mefistofele was his magnum opus. It is the Faust legend, but done more flamboyantly and with a different dramatic emphasis than Gounod’s. Boito’s opera is a series of vignettes, with gaps between some scenes that do not always add up to a dramatic whole. In this opera, the character of Margherita is almost a sideshow. The main drama takes place between Mefistofele, Faust and God – as represented by a heavenly host, the chorus. By the final act and epilogue Margherita is long gone, leaving the stage to the three protagonists. It all works up to a wonderfully bombastic and exciting finale. Having seen a fine production of this opera in Vienna, I can attest to the work’s power on stage. Flawed it might be, but it is much more fun than Gounod’s Faust, and more dramatic. This live recording comes from the opera house in Palermo and is an effective enough performance from a good provincial opera house…. Continue reading Get unlimited…
The “heir to Pavarotti” succumbed to head injuries sustained in a road accident. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
His Deutsche Grammophon contract may be relatively recent, but Italian bass-baritone Ildebrando D’Arcangelo has been around for quite some time. On this new disc, he’s palpably at ease, singing arias from the Italian Mozart roles which have been his bread and butter for a couple of decades. The program holds few surprises – Mozart basses and baritones are rather less spoilt for choice than their soprano counterparts – but D’Arcangelo’s vocal swagger is enough to keep these familiar favourites fresh. He’s at his best in the faster-paced comic arias: the Italianate bite of his timbre, coupled with a native speaker’s suave command of the text, allows him to tread nimbly and engagingly through Figaro’s Aprite un po’ quegli occhi, Leporello’s catalogue aria and Count Almaviva’s Vedro mentr’io sospiro. In Don Giovanni’s serenade, he’s muscular if not massively seductive, but Finch’han del vino is energetically delivered, as is Se vuol ballare. Differentiation between characters could be stronger, but each aria in itself is vivid enough, and one imagines that a stage could easily elicit the charisma occasionally lacking on disc. No doubt for variety’s sake, D’Arcangelo also includes a few lesser-known concert arias. These free-standing showpieces, with… Continue reading Get unlimited…
Festival Baroque Australia showcases local and national talent in a rare Handel opera. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Who are this year's contenders for the UK's most prestigious classical awards?
