Jacques Offenbach (1819-1880) is primarily represented in opera’s “standard repertory” by Les contes d’Hoffmann, but he made his name in operetta (opérette), a form which came into its own in mid-19th century Paris in large part due to Offenbach’s own contributions. Dating from 1873, Pomme d’Api is a one-act comic operetta from the latter part of his career, an intimate domestic rom-com for soprano, baritone and tenor.
Category Archive: Classical music
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.
We have been here before. In 1220 the Mongols sacked Afghanistan, scattering its artists and musicians in all directions. The Sufi poet Rumi wound up in Konya, in today’s Turkey, but the majority of these refugees fled into neighboring India, where they were warmly welcomed by culture hungry audiences. They contributed to the development of Hindustani music, whose modern avatar is Bollywood music. I wonder today if the musicians chased out of Afghanistan today will leave such echoes of their musical exile. If they do, it will be because of the tireless touring of masters like Daud Khan Sadozai, who recently performed at Lisbon’s Fundacão Oriente.
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. The ingenuity of the design however is that it also serves as a screen onto which full stage-wide and stage-high projections are cast: designs from Japanese prints, seascapes, crashing waves, gardens, calligraphy. The effects range from artistic to evocative or illusory.
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, the only question being over how large a geographical area.
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”.
Hong Kong soprano Louise Kwong sang selections from Puccini, Cilèa and Verdi in a special concert in a special “Concerto Italiano”, presented by the Italian Consulate-General in Hong Kong at the City Hall and streamed online on the occasion of the Italian National Day.
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