In a pair of school-day matinees on 25 and 27 May, Hong Kong’s Musica Viva—back in the operatic saddle as local Covid restrictions ease—presented an abridged version George Frideric Handel’s baroque masterpiece Giulio Cesare.
The brilliant set of the Opera Hong Kong’s new production of Madama Butterfly, which opened on 6 October, is a panel set a few meters back from the front of the stage that emulates the front of a Japanese house. The room itself is set into this panel almost 2 meters above the stage floor….
Hong Kong’s Louise Kwong excelled in a selection of well-known Italian verismo arias by Puccini and Catalani to open the 2021 Italia Mia Festival.
Written when the composer was just 12, Wolfgang Amadeus Mozart’s La Finta Semplice qualifies as a real rarity. After a performance the year following its composition, it dropped from the repertoire and was not staged again until modern times. That Musica Viva’s recent production at Hong Kong’s City Hall was a premiere seems beyond doubt,…
Luisa Miller at Glyndebourne delivers everything a summer music festival can offer: a perfectly rehearsed ensemble, a purpose-built theatre, young but top-of-form artists, a great orchestra, and a willingness to experiment with less-well-known works. This season is being celebrated as a triumph over Covid, after two years of empty seats.
Perhaps it was being forced to skip a year that prompted Opera Hong Kong to step outside the normal commercial comfort zone and program Vincenzo Bellini’s I Capuleti e i Montecchi for this year’s summer semi-staged production at City Hall. Whatever the genesis of the decision, it was a fortuitous choice.
Musica Viva’s new production of Norma—Vincenzo Bellini at his bel canto best—is perhaps an omen: it is just one letter shy of “normal”.
When Micaëla comes on Act III, looking for the estranged Don José at the smugglers’ camp, she sings that Je dis que rien ne m’épouvante—“I tell myself that nothing will frighten me”. One could sense, in this, its first full-staged production in eighteen months, Opera Hong Kong telling itself much the same thing.
The Italian Cultural Institute’s production of Gaetano Donizetti’s Rita was reprised on 27 April at HKUST’s 2021 Cosmopolis Festival.
In a series of matinees ending today, Hong Kong’s Musica Viva presented George Bizet’s Carmen to audiences of secondary school students for whom this was the likely the first (Western) opera performance most had ever attended.
The most notable thing about the Hong Kong Academy of Performing Arts’s current run of Wolfgang Amadeus Mozart’s opera Idomeneo is that it is happening at all, a socially-distanced audience and performers all in masks (the medical rather than commedia dell’arte kind) being concessions to the situation.
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…
Gaetano Donizetti (1797-1848), a leading contributor to the bel canto opera style, was one of the first composers who channeled drama and emotion to the stage with music in a time when the singers’ part was considered key to conveying emotions instead. His one-act opera Rita, posthumously premiered 160 years ago, was one such example,and…
Chorus members sported masks, so this Opera Hong Kong production of Wolfgang Amadeus Mozart’s Le Nozze di Figaro wasn’t quite a return to complete normality, but the socially-distanced audience for the first Hong Kong opera performance in almost a year enthusiastically took what they could get.
There is no earthly reason to write about the new off-Broadway musical Romeo & Bernadette except that it’s very clever. Mark Saltzman has repurposed some 300 hundred years of Italian song—Giordani through de Curtis with side trips via Rossini, Bellini, Leoncavallo, Cannio and Falvo—as songs and lyrics of a thoroughly modern (albeit 1960s-retro) musical.