Buscador de artículos | Raisa Massuda

In the opera world, where loyalty to the libretto is oftentimes taken for poor taste and the use of period sets and costumes is attributed to the lack of a directorial concept, seeing a traditional production becomes a rare (and very comforting) treat.

One of my favorite things about opera in concert is the absence of director’s concept. Don’t take me wrong: I do enjoy a well-directed opera production with a concept.

For almost two decades, Opera Lafayette has been known to DC opera fans as a period-based ensemble reviving long-forgotten gems of French Baroque and Rococo chamber opera repertoire. On Thursday night, the Kennedy Center’s Terrace Theater hosted Opera Lafayette’s most recent creation: its production of Marc-Antoine Charpentier’s pastorale/tragédie en musique Actéon.

When, in 1859, Gounod’s Faust premiered in Paris, it got an icy cold reception. In fact, shocking as it may sound to anyone even slightly familiar with this opera’s glorious arias, breathtaking duets and melodious ensembles, it got rejected by Paris Opera on the grounds of not being sufficiently “showy”.

On Monday night the Eisenhower Theater at the Kennedy Center for Performing Arts hosted a debut recital of internationally acclaimed German soprano Diana Damrau and her concert accompanist, French harpist Xavier de Maistre.

On Wednesday night Washington Performing Arts Society at the Kennedy Center hosted a Russian art song recital of the internationally acclaimed Russian baritone Dmitri Hvorostovsky and his longtime concert partner, Estonian pianist Ivari Ilya. As the audience’s excitement about seeing this renowned recitalist was building up, it was disappointing to see quite a few empty seats in the house.

On Saturday night the Kennedy Center for Performing Arts was packed with ardent opera lovers who came to the Washington National Opera to enjoy one of Puccini’s most heartbreaking love stories, Manon Lescaut.

On Sunday night Shriver Hall was packed with Baltimore opera fans who had gathered to enjoy a solo recital of the internationally acclaimed opera “anti-diva” Magdalena Kožená. True to her reputation, this Czech mezzo-soprano came on stage dressed in a casual black gown, which (ignoring the dress change tradition established by her stage colleagues) she chose to wear all night long.

When on Sunday afternoon Joyce DiDonato came onstage at Carnegie Hall, the savvy New York audience gave her a truly royal reception by welcoming her with a long ovation. Such a reaction from the audience was hardly surprising.

On Saturday night the Kennedy Center Terrace Theater was packed with opera fans who had come to enjoy a solo recital from aspiring American soprano Angela Meade. No wonder this one-time-only performance was a complete sell-out – there was no way that DC opera fans would pass up the opportunity to sneak-preview her performance, as she is up for the title role in Bellini’s Norma later this season.

“Poetry and again poetry – tenderness mixed with pain; sensuality, a drama surprising and burning, and a rocketing finale.” This is composer Giacomo Puccini describing one of the world’s most famous operas, La bohème.

On Wednesday night the Kennedy Center for Performing Arts was more crowded than a shopping mall during the holiday season. Apparently, nothing could keep DC opera lovers from getting to the Washington National Opera - not even the notorious peak hour traffic.It comes as no surprise that Mozart’s Don Giovanni, known to some as "the greatest opera ever written" is on most opera fans’ must-see lists.

When I heard that Nathan Gunn was opening Washington National Opera’s 2012-13 season Celebrity Series, I could not be more excited. Indeed, this American baritone, known in the musical world as “the opera divo”, represents everything that today’s opera fans look for in a singer: a beautiful voice, first-class acting, an appealing physique and of course, a great sense of humor.

Ladies and gentlemen of Washington DC and the nearby lands!If last fall you did not get a chance to journey to New York for the Met’s season-opening production of Anna Bolena – do not fret! Last Saturday the Washington National Opera opened its new season with a production of Anna Bolena (a little too bloody for a season opening if you ask me, but maybe that’s what attracts most people to opera th

When I heard that Washington National Opera’s upcoming production of Jules Massenet’s romantic and beautifully tragic opera Werther would be set in the 20th century, I was intrigued.

When I saw a three-tiered theater set-up on the Kennedy Center Opera House stage, consisting of boxes decorated with blue velvet, gold and exquisite paintings, I have to admit that even having seen various different stagings of Verdi’s Nabucco before, I was intrigued.

In the opera world, where being true to a libretto is considered unforgivably boring, and using traditional scenery and costumes very dull, sometimes nothing is more pleasing than seeing a conservative production.

Ever since I saw Angela Gheorghiu in the title role of Barbara Willis Sweete’s brilliant opera film Romeo and Juliette, this soprano has been on my must-see-no-matter-what list. However, seeing Gheorghiu live is much easier said than done.

I hear that both you and your friend are getting married to wealthy and pretty ladies from Washington DC?My heartiest congratulations, gentlemen! As my early wedding gift, allow me to offer you some marriage wisdom: when your beloved betray you, remember to forgive them and keep living happily ever after.Don’t believe in betrayal? Well, then, allow me to prove my point.

Even though some kids are so musically inclined that they are able to take in Mozart and Beethoven pure and unabridged, most young listeners do better with classics once they get a little verbal support to go with the music.

I have always believed that no composer is a better role model for aspiring musicians than Handel and that no music makes the introduction to classics more smooth and enjoyable than his Water Music. Whether you are a complete novice to the classical world or a professional musician, a truck driver or a philosopher, Handel’s music will find its way to your heart.

He thought he had seen Heaven before him. He knew not whether he was in or out of his body when he wrote it. Twenty-four sleepless nights, many untouched dinners and endless tears later, his Messiah was ready to see the world. Or maybe not just yet.True, there had been times when he was ambitious and proud. There had been times when it was all about him. Now he had learned the truth.

On Thursday night the DC opera fans gathered at the Washington National Opera for the opening night of David Alden’s production of Donizetti’s timeless tale of love and horror, Lucia di Lammermoor. It soon became obvious that the production presented to us was not the most conservative one.

Several years ago I attended a glorious Baltimore Symphony Orchestra concert under the baton of a celebrity conductor. A less experienced listener at the time, I was shocked to watch him leading the orchestra in a Rossini overture with his arms folded behind his back.

Even though, unlike most American opera lovers, I am not a big fan of Puccini’s music, Tosca has a very special place in my heart. Set to the most heartbreaking and overwhelmingly beautiful music, this story of a classical love triangle ending in the three deaths never gets too old or too boring.

When death takes away everyone you ever loved, acting cool and staying amiable might not be the easiest things to do. You start having thoughts you never dared think before. You start questioning the unquestionable. Chances are you will turn into an agnostic. Giuseppe Verdi did.

Having marked his 15th anniversary as the WNO’s artistic director earlier this month, Placido Domingo makes his final appearance as the company leader in the role of Oreste in Emilio Sagi’s production of Gluck’s Iphigenie en Tauride.The part is a fine choice for the artist.

If you believe that true happiness can be found in music, I have a recipe for you to follow. Take a funny story of disguise, sham and mock marriage and set it to great music. Add a quartet of bel canto stars (a lyric tenor, a coloratura soprano, a baritone and a bass) and dress them in spectacular 17th century costumes. Add pantomime artists, masked dancers and a chorus.

A strong believer in music speaking for itself, I have always been quite skeptical about pre-concert presentations. In my opinion, play the music and let the audience enjoy it.On Sunday afternoon I was less than excited to hear that Mozart’s Requiem presented by Washington Performing Arts Society would be previewed in a 45-minute presentation by NPR music commentator Rob Kapilow.

When in 2009 Baltimore Opera Company announced bankruptcy and closed its doors indefinitely, opera lovers were devastated. Being left without opera felt like losing a dear family member. However, sad as they were, Baltimoreans never gave up hope that one day their opera would rise from the ashes and come back in its full grandeur.

For over a century, Puccini’s Madama Butterfly has been one of the most famous and widely staged operas in the world. The secret of this undying popularity lies in the complex and contradictive nature of the main heroine. Audiences always look for new vocal and dramatic interpretations of the character and keep their expectations high for the leading soprano.

On February 15th, Kennedy Center for Performing Arts in Washington DC proudly hosted a recital of the internationally acclaimed mezzo soprano Joyce DiDonato and famous pianist David Zobel. Part of this season’s Star Series, the recital presented by Washington Performing Arts Society, was given in honor of Vocal Arts 20th Anniversary.

Over the centuries, pure angelic voices and truly remarkable vocal technique have brought the Vienna Boys Choir international acclaim and undying popularity. Founded in Austria over five hundred years ago, the oldest boys’ choir in the world embraces both old tradition and new vision.