Concert Review: The Next Giant Steps

Lawrence Brownlee in a fierce Liederabend at Zankel Hall.
by Paul J. Pelkonen

Tenor Lawrence Brownlee explored 19th century and contemporary song at Zankel Hall on Tuesday night.
Photo by Shervin Lainez for Opera Philadelphia.

The American tenor Lawrence Brownlee has emerged in the past decade as one of the leading lights of the bel canto revival that has swept operatic stages in this young century. He is possessed of a memorable stage presence, formidable technique, a plangent, sweet tone and a powerful, nimble insrument. On Tuesday night, a packed Zankel Hall got to see a different side of Mr. Brownlee, as he led an exploration of the art of the song at the Carnegie Hall venue.

Metropolitan Opera Preview: La Donna del Lago

Joyce DiDonato reprises the title role in this Rossini rarity.
by Paul J. Pelkonen

Scotland the Brave: Joyce DiDonato shines in La Donna del Lago.
Photo by Ken Howard © 2015 The Metropolitan Opera.

The Met continues its Rossini revival with one of the bona fide hits of last year: La Donna del Lago ("The Lady of the Lake"). Paul Curran's production bowed in 2013 at Santa Fe. At the Met, the magnificent natural vistas of New Mexico are replaced with scenery. (It was either that or knock out the back of the opera house and give the audience a backdrop of Amsterdam Avenue.)

Opera Review: Learning to Fly

Lawrence Brownlee flies high in Charlie Parker's YARDBIRD.
by Paul J. Pelkonen

(Ed. Note: the complete review of YARDBIRD appears on the website OperaPulse.)

The jazz-man testifies: Lawrence Brownlee in Charlie Parker's YARDBIRD.
Photo by Dominic Mercier © 2015 Opera Philadelphia.

The American tenor Lawrence Brownlee rose to fame singing bel canto repertory, operas that require a light and agile voice with a bright, even brassy tone. This month at Opera Philadelphia, Brownlee applies his remarkable instrument to the title role of Charlie Parker’s YARDBIRD. In this new opera by Daniel Schnyder, Brownlee portays not just the famous jazz musician (who died in 1955 at just 34 years old) but his signature alto saxophone sound, using his nimble instrument to create the vocal equivalent of Parker’s bebop.

To read the whole review by Paul J. Pelkonen, visit OperaPulse.

Metropolitan Opera Preview: Il Barbiere di Siviglia

Figaro's barber shop is back in business.
by Paul J. Pelkonen

Tenor Lawrence Brownlee has an issue with the wig department.
Photo from Il Barbiere di Siviglia by Ken Howard © 2007 The Metropolitan Opera.

Although it was a complete and utter fiasco on its opening night in 1816, Rossini's Il Barbiere di Siviglia remains the heavyweight champ among operatic comedies. The adventures of Figaro and company have held the stage in one form or another for 198 years, and remains the composer's most famous work.

Five from Twenty-Five

The best of the Metropolitan Opera season 2013-2014.
by Paul J. Pelkonen

The class of 2013-14: Diana Damrau in La Sonnambula, Olga Peretyatko in I Puritani,
Ambrogio Maestri as Falstaff, Christine Goerke in Die Frau Ohne Schatten
and Joyce DiDonato in La Cenerentola.  All images © 2014 The Metropolitan Opera.
Curtain photo by Jonathan Tischler. Photoshop by the author.

With the 2013-2014 Metropolitan Opera season in the books it's time to go over the very best (and worst) of an uneven year at North America's largest opera house.

Opera Review: Lightning Strikes Twice

The Met looks to its future with this revival of I Puritani.
by Paul J. Pelkonen

Veil song: Olga Peretyatko sings the Mad Scene from I Puritani as Michele Pertusi looks on.
Photo by Ken Howard © 2014 The Metropolitan Opera.

Eight years ago, the Metropolitan Opera assured its own future for the next decade with a revival of I Puritani that made Russian soprano Anna Netrebko an overnight sensation. On Thursday night, the Met used the same vehicle to launch the career of another Russian soprano. Like her famous compatriot, Olga Peretyatko is a smoldering, dark-eyed beauty. At the season premiere of this faded but still serviceable production of Bellini's final opera, the younger singer proved that lightning can, given the correct conditions, strike twice.

Metropolitan Opera Preview: I Puritani

A new generation takes on the bel canto classic.
by Paul J. Pelkonen

Her heart's on fire for Elvira: Olga Peretyatko in I Puritani.
Photo by Ken Howard © 2014 The Metropolitan Opera.

This is Bellini's last opera.

He died at the age of 33, just nine months after the premiere, but not before he wrote some of his most beautiful tunes, with sky-scraping roles for soprano and primo tenore. Here, the lovers Elvira and Arturo are played by soprano Olga Peretyatko (in her Met debut) and tenor Lawrence Brownlee. Dashing baritone Mariusz Kwiecien and bass Michele Pertusi appear in key supporting roles.

Concert Review: Genius of Love

Mostly Mozart's 2012 opening features starry special guests.

Mostly Mozart opens with an appearance
by tenor Lawrence Brownlee.

by Paul J. Pelkonen

The Mostly Mozart Festival is Lincoln Center's oldest summer event, bringing patrons into the cool confines of Avery Fisher Hall since 1966. This year's kickoff concert attempted to recreate the feel of an old-fashioned Viennese concert program, where listeners might hear a smorgasbord of musical styles: opera arias and overtures, a symphony and maybe a concerto, presented in whatever order seemed most entertaining and sensible.

The August 1 concert began at the end of Mozart's oeuvre with the overture to La Clemenza di Tito, his hastily written opera seria dashed off to accompany the coronation of Austrian emperor Leopold II. Louis Langrée, who is beginning his tenth year as the Festival's music director, led a robust performance of this underrated work. The overture featured rich brass playing and brisk, energetic strings from the Mostly Mozart Festival Orchestra.

The Piano Concerto No. 20 was next. Brazilian pianist Nelson Freire took the solo part in this, one of Mozart's most Romantic creations for keyboard and orchestra. Whereas most piano concertos of this period have soloist and conductor working in harmonious accord, Mozart's work places the lone instrument in opposition to stormy chords from the orchestra. Mr. Freire engaged in friendly combat with Mr. Langrée, soloing with liquid grace against the accompaniment, which is similar in style and tone to certain pages of Don Giovanni.

Opera Review: Armida's Last Dance

Renée Fleming returns in Rossini's problematic fantasy.
by Paul J. Pelkonen

Renée Fleming in Act III of Armida. Photo by Marty Sohl © 2011 The Metropolitan Opera

In the year since this production premiered, Armida has gone from much-hyped spectacle to what it really is: a vanity opera about to be returned to the mists of obscurity. The fact that the run is almost over helped Tuesday's performance. The vocal fireworks were still stunning, but the cast, choristers, and ballet corps looked like they were actually having a good time performing this Rossini rarity. And the joy in performance of any opera, (however dreadful) is something to be treasured.