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Hong Kong had full year of opera performances, from grand opera to chamber opera and recital, in Italian, French, English and even Chinese, augmented by excellent performances in Macau and Shenzhen.
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This November in New York has featured three different versions of the Madame Butterfly story on stage: the original at the Metropolitan Opera, a revival of the David Henry Hwang play M. Butterfly and a revival of the musical Miss Saigon. Of these, I managed Hwang and Puccini back-to-back.
The holiday week that starts October in China saw both “Immersive Comic Opera Week” and a recital of soprano Anna Netrebko at the Guangzhou Opera House.
The winner of Musica Viva’s 2018 inaugural Hong Kong International Operatic Singing Competition, Norwegian soprano Margrethe Fredheim, joined third place and audience prize winner, Chinese soprano Chen Yibao, in a return concert 17 June 2023 headlined by renowned Korean soprano Sumi Jo, who had been one of the competition’s judges.
An article in the most recent Economist was subtitled “China’s newest export hit is classical music” with a lede about the China Philharmonic Orchestra on tour in New York. Once, classical music generally travelled from the West to the rest. Now China is reversing the exchange, not merely performing Western classical music in China,…
Gaetano Donizetti’s Rita dates from between 1839 and 1841 at a time when the composer was in Paris. Still unperformed at the time of his death in 1848, Rita finally premiered in May 1860 at the Opéra-Comique. It remained relatively obscure, but has been rediscovered and is increasingly performed, with several new productions in 2020…
Opera plots can often strain credulity; Giacomo Puccini’s Madama Butterfly, on the other hand, cuts close to the bone. The story—of an American naval officer who woos, marries and deserts a young Japanese girl—matters: it is a tightly-constructed narrative and attempts to reframe it, reposition it in another time or place, can be fraught.