Miles Davis and storied producer/arranger Quincy Jones shared a long friendship and working history, despite the jazz trumpeter's legendary reputation as an intimidating and difficult collaborator. Their last partnership comes to light Tuesday in Miles Davis With Quincy Jones and the Gil Evans Orchestra Live at Montreux 1991, a concert from the Montreux Jazz Festival captured shortly before Davis died. Evans died in 1988.
Based on Gogol’s fantastical and comic story of the Devil’s antics on Christmas Eve, this magical blend of opera and ballet is brought to vivid life in Francesca Zambello’s colourful production. Magnificent set designs (Mikhail Mokrov) and costumes (Tatiana Noginova), and an excellent, largely Russian cast provide authenticity. Splendid dancing by The Royal Ballet and Cossack dancers completes the spectacle.
This video was recorded live at performances of the original version of 'Dardanus' (1739) given at the Grand Théâtre de Bordeaux in April 2015, in a production by Michel Fau and choreography by Christopher Williams. Raphaël Pichon, the Ensemble Pygmalion and a peerless line-up of soloists received unanimous acclaim from public and press alike. “van Mechelen rises splendidly to his major dramatic interventions and Florian Sempey as his rival Antenor is commanding and resonant. Michael Fau’s production with effective use of gesture and dance, and Emanuel Charles’s highly coloured, stately sets make for a very handsome visual presentation … Pygmalion provides vigorous and expert orchestral accompaniment, and Raphael Pichon’s assured direction secures superb coordination with the soloists and the firmly focused chorus.” (BBC Music Magazine)
In 1974, British choreographer Kenneth MacMillan in turn decided to focus on the two protagonists for an ambitious ballet that could translate the feelings and emotions of two souls abused by the accidents of life and their own personal weaknesses. In short, how a young girl on her way to a convent manages to elope with the young student with whom she has just fallen in love, only to leave him to escape destitution and finally allow herself to be persuaded by her brother Lescaut to yield to the advances of wealthy “protectors”. Accused of prostitution and deported to Louisiana, Manon is rescued by Des Grieux. Driven to murder by Manon’s jailer, he escapes with her into the marshes where the young girl ultimately succumbs. Although sincere, the love that Manon and Des Grieux share for each other cannot stand up to the vagaries of existence. As a result, neither is able to escape moral or social decline. Rather than reuse the score of Massenet’s opera, MacMillan entrusted Leighton Lucas with the task of arranging a series of extracts taken from a selection of the French composer’s operatic, symphonic and vocal scores… The end result was a huge success from its debut performance in London in 1974 onwards.
Gluck‘s wonderful but neglected 1774 opera Iphigénie en Tauride, inspired by the Greek legend, is treated with forceful and convincing simplicity in Klaus Guth‘s revolutionary production staged at the Zurich Opera House. The psychological drama in a tense atmosphere of fears and traumas is underlined by Guth‘s use of huge masks and enclosed spaces. Conductor William Christie and his typically transparent but never cold orchestral sound perfectly match the descriptive elements in Gluck’s score, while the Armenian mezzosoprano Juliette Galstian as a fabulously good Iphigénie, the leading American opera baritone Rodney Gilfry as Oreste and the deceased South African tenor Deon van der Walt as Pylade head a superb cast.
Verdi's brilliant final masterpiece Falstaff, in its first new Met production in 50 years – and conducted by Met Music Director James Levine in his first new production since his return to his podium at the Met. When it comes to theatrical flair, captivating costumes, stage antics and imagination, there are not many shows on Broadway to rival the Met s new Falstaff. “Ambrogio Maestri is made for the title role, with the apt physique, nimble acting and superb vocal presence that make him the leading Falstaff of the day. There is no weak link in a finely balanced, comically-attuned cast (the women are especially impressive) and Levine’s conducting is pitch-perfect. The show fizzles from start to finish and is tremendous fun” (Classical Music).
In Glyndebourne’s first-ever staging of a opera by Rameau, director Jonathan Kent presents a production which, in his own words, ‘strives to appeal to every sense and show audiences how engrossing and musically ravishing French Baroque opera can be’. Rameau’s inventive take on Racine’s great tragedy Phèdre is brought to life by Paul Brown’s colourful and elegant designs and Ashley Page’s playful choreography. Ed Lyon and Christiane Karg give captivating performances as the titular young lovers, while Sarah Connolly, making a welcome return to Glyndebourne, ‘invests Phaedra with both grandeur and a desperately human vulnerability’ (The Independent). Leading exponent of early music William Christie ‘sets an exhilarating pace, galvanising the Orchestra of the Age of Enlightenment to playing of tremendous panache’ (The DailyTelegraph).
Described by Tchaikovsky as ‘lyric scenes’, Eugene Onegin receives a spectacular reinterpretation from the Norwegian director Stefan Herheim. His productions create controversy and excitement around Europe, and here he takes Pushkin’s story of illusion, disaffection and frustrated love, and places the protagonists – world-weary Onegin and naïve, passionate Tatyana – in a triple temporal perspective, referencing the theatrical present, the period of the work’s composition, and the pageant of Russia’s history. Mariss Jansons, renowned for his mastery of Tchaikovsky’s symphonies, conducts this performance from Amsterdam’s Muziektheater.