News » Reviews 2010-2011
(US) Zheng Cao’s Magnificence Graces Philharmonia Baroque (Review by Jason Victor Serinus) (2011 March 5)
Mezzo-soprano Zheng Cao, whose saga with stage four lung cancer continues to inspire an international audience, is in the midst of an astounding series of performances with Philharmonia Baroque Orchestra, conducted by Music Director Nicholas McGegan.
“The new brochure of the 2011-2012 season at Paris’ Opéra-Comique has only arrived in the past few days and has already caused a stir in two countries.
The first performance of Thomas Arne’s masque Alfred took place at Clivedon House on the Thames near Maidenhead, in August 1740.
(US) Aulos Ensemble Transports Listeners to 18th-Century France -- Review by By Thomas Busse (2010 Dec.)
On Sunday, I had the rare fortune to hear the Aulos Ensemble presented by Music at Kohl Mansion in a Christmas concert in Hillsborough that managed to stand apart from the tired demands of the season while capturing the joy of the holiday.
Johann Adolph Hasse (1699-1783) was arguably the most successful opera composer of the 18th century. Together with his favourite librettist, Pietro Metastasio, Hasse defined the genre of opera seria for an entire generation.
(US) Worth a Reprise at Age 401 -- Monteverdi Vespers of 1610 -- Review by Steve Smith (New York Times)
Almost exactly a year ago, the New York soprano Jolle Greenleaf, the Boston violinist Scott Metcalfe and a couple of dozen close associates from around the country presented the fruit of what they called the Green Mountain Project: a performance of Monteverdi’s grand and glorious Vespers of 1610, mounted in observance of the work’s 400th anniversary.
(US) Mozart at Salzburg Festival: Don Giovanni and Così fan tutte - Review by Chris Mullins (Opera Today)
Once a preserve of opulent traditional productions, the summer Salzburg Festival has become a destination for viewing more cutting edge stagings.
“With its tricky ‘orientalist’ connotations, Singspiel-originating spoken dialogue, not to mention the problem of finding five outstanding singers who can cope with the considerable demands of the solo roles (and the commercial challenge presented by the need to pay a chorus who sing barely a few bars of music), Mozart’s Die Entführung aus den Serail does not receive as many stagings as it deserves.
New issue of Perf. Practice Review is available online.
Volume 14 (2009) includes:
- - JOHN BASS: "Improvisation in Sixteenth-Century Italy: Lessons from Rhetoric and Jazz"
- - ROLAND JACKSON: "Realizing the Continuo in Monteverdi's Lamento della ninfa and its Implications for Early Seventeenth-Century Italian Continuo Practice"
- - NOEL O'REGAN: "What can the organ partitura to Tomás Luis deVictoria’s Missae, Magnificat, motecta, psalmi et alia quam plurimaof 1600 tell us about performance practice?"
- - STEWART POLLENS: "Some Misconceptions about the Baroque Violin"
- - ROLAND JACKSON reviewing Timothy Watkins, Performance Practice:Issues and Approaches