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The Eighth Wonder is an opera by Alan John and with a libretto by Dennis Watkins. It was premiered at the Sydney Opera House on October 14, 1995 in the presence of the composer and librettist.
The opera tells the story of the very building in which it was performed. Soon after the building was commissioned and work had commenced the State Premier who administered its genesis died.
The opera suggests that the Premier believed that if the work was not sufficiently advanced and there was a change of government then the project would be cancelled. Therefore the foundation work was commenced before the architect had solved the problem of how to build the main structure of the building. The time and cost estimates were also understated to ensure work commenced. There were many other engineering and design problems that had not been solved when work had commenced.
The opera supports the idea that the architect was fully competent to solve these problems and indeed was able to provide solutions that were far more elegant than anything that anyone less inspired, less talented and at one with a vision could provide.
Some time after that there was indeed a change of government. There was much hostility toward the building and the new government was not willing to let the architect complete the project. Much scandal was made of the time and cost of the project. The state bureaucracy wrested control from its architect and the architect's intentions for the interiors of the building were never realised. The architect left the country and disowned the building.
Characters in the opera include the politicians, the architect, an engineer, socialites, and a prominent conductor (the maestro) who betrays the cause of opera for the cause of concert music (see full cast list below). There are also two young artists who firmly idenitify their future with the building. The names of the characters do not match their real-life counterparts and there are, no doubt, certain other fictional elements.
There is a large chorus and the music is quite accessible, with several bright choral climaxes. The opera consists of two acts, with a total of 15 scenes including Parliament House, the construction site and the suburban backyard where the young artists spend time with their families.
The opera concludes leaving the audience with a sense of loss for the complete vision that was never realised but also with an enormous sense of gratitude and wonderment that as much of that vision that has been completed has been.
Perhaps the opera is not destined for the same greatness as the flawed masterpiece that is its subject, but the Sydney audience loved to see its own history told on stage. It is a very important story for this city as the building has become such an important part of its identity.
The opera was broadcast on television by the Australian Broadcasting Corporation on the Friday evening following the world premiere performance.
Industry:Drama
Einstein on the Beach is an opera in four acts (framed and connected by five "knee plays" or intermezzos), composed by Philip Glass and directed by theatrical producer Robert Wilson. The opera eschews traditional narrative in favor of a formalist approach based on structured spaces laid out by Wilson in a series of storyboards. The music was written "in the spring, summer and fall of 1975." Glass recounts the collaborative process: "I put on the piano and composed each section like a portrait of the drawing before me. The score was begun in the spring of 1975 and completed by the following November, and those drawings were before me all the time." The premiere took place on July 25, 1976, at the Avignon Festival in France. The opera contains writings by Christopher Knowles, Samuel M. Johnson and Lucinda Childs. It is Glass's first and longest opera score, taking approximately five hours in full performance without intermission; given the length, the audience is permitted to enter and leave as desired.
The work became the first in Glass' thematically related Portrait Trilogy, along with Satyagraha (1979), and Akhnaten (1983). These three operas were described by Glass as portraits of people whose personal vision transformed the thinking of their times through the power of ideas rather than by military force.
Industry:Drama
Elektra, Op. 58, is a one-act opera by Richard Strauss, to a German-language libretto by Hugo von Hofmannsthal, which he adapted from his 1903 drama Elektra. The opera was the first of many collaborations between Strauss and Hofmannsthal. It was first performed at the Dresden State Opera on January 25, 1909.
Elektra is a difficult work and is musically complex. A performance requires musicians with great stamina. The role of Elektra in particular is one of the most demanding in the dramatic soprano repertoire.
Despite being based on ancient Greek mythology, the opera is highly modernist and expressionist. Hofmannsthal and Strauss's adaptation of the story focuses tightly on Elektra, thoroughly developing her character by single-mindedly expressing her emotions and psychology as she meets with other characters mostly one at a time. The other characters are Klytaemnestra, Elektra's mother and one of the murderers of Agamemnon, Elektra's father; her sister, Chrysothemis; her brother, Orestes; and Klytaemnestra's lover, Aegisthus. None of them show much development; all are secondary to the story.
Everything else from the myth is minimized as background to Elektra's character and her obsession. Other aspects of the ancient story are completely excluded, tightening the focus on Elektra's furious lust for revenge. The result is a very modern, expressionistic retelling of the ancient Greek myth. Compared to Sophocles's Electra, the opera presents raw, brutal, violent, and bloodthirsty horror.
Industry:Drama
L'elisir d'amore (The Elixir of Love) is a comic opera (melodramma giocoso) in two acts by the Italian composer Gaetano Donizetti. Felice Romani wrote the Italian libretto, after Eugène Scribe's libretto for Daniel Auber's Le philtre (1831).
Written in haste in a six-week period, L'elisir d'amore was the most often performed opera in Italy between 1838 and 1848 and it has remained continually in the international opera repertory. Today it is one of the most frequently performed of all Donizetti's operas: it appears as number 13 on the Operabase list of the most-performed operas worldwide in the five seasons between 2008 and 2013. There are a large number of recordings. It contains the popular tenor aria "Una furtiva lagrima," a romanza that has a considerable performance history in the concert hall.
Donizetti insisted on a number of changes from the original Scribe libretto. The most well known of these was the insertion of "Una furtiva lagrima", others are the duet between Adina and Nemorino in the first act, "Chiedi all'aura lusinghiera", and the rewritten lyrics to "Io son ricco e tu sei bella" in the final scene of the opera, where this duet, originally a song written by Dulcamara for the marriage of Adina and Belcore, reoccurs as a Dulcamara solo with scabrous lyrics, becoming the de facto final aria—a feature of many Donizetti operas.
In general, under Donizetti's hands, the subject became more romantic than in the Auber version: L'elisir d'amore features three big duets between the tenor and soprano. There is also personal history in this opera. Donizetti's military service was bought by a rich woman, so that, unlike his brother Giuseppe (also a well known composer) he did not have to serve in the Austrian army.
Industry:Drama
L'enfant et les sortilèges: Fantaisie lyrique en deux parties (The Child and the Spells: A Lyric Fantasy in Two Parts) is an opera in one act, with music by Maurice Ravel to a libretto by Colette. It is Ravel's second opera, his first being L'heure espagnole. Written from 1917 to 1925, L'enfant et les sortilèges was first performed in Monte Carlo in 1925 under the baton of Victor de Sabata.
After being offered the opportunity to write a musical work, Colette wrote the text in eight days. Several composers were proposed to Colette to write the music, but she was only enthused with the prospect of Ravel.
Marie-Thérèse Gauley sang the part of the child at both the premiere in Monte-Carlo and the first performance at the Opéra-Comique on 1 February 1926. The original cast also included Henri Fabert as Vieillard Arithmétique, Warnerey as the clock and cat, while at the Opéra-Comique, conducted by Albert Wolff and with choreography by Louise Virard, the cast included Germaine Féraldy, Mathilde Calvet, Madeleine Sibille, Roger Bourdin, René Hérent and Louis Guenot.
The opera was then seen in Prague (17 February 1927), Leipzig (6 May 1927) and Vienna (14 March 1929). The US premiere was given on 19 September 1930 by the San Francisco Opera. The Canadian premiere of the work was a film version made by CBC Television in 1950 with conductor Wilfrid Pelletier. It was not until 3 December 1958 that the opera was given its UK premiere in the Town Hall in Oxford.
Industry:Drama
The English Cat is an opera in two acts by Hans Werner Henze to an English libretto by Edward Bond, based on Les peines de coeur d'une chatte anglaise (The heartbreak of an English cat) by Honoré de Balzac. The opera was first performed in a German translation by the Stuttgart Opera at the Schlosstheater Schwetzingen at the Schwetzingen Festival on 2 June 1983. The French premiere was at the Opéra-Comique, Paris in 1984. The first performance using the original English text was at Santa Fe on 13 July 1985. The UK premiere was at the Leith Theatre, Edinburgh, on 19 August 1987. A revised version was performed at Montepulciano in 1990 and this was given in London in 1991.
Industry:Drama
Die Entführung aus dem Serail (K. 384; The Abduction from the Seraglio; also known as Il Seraglio) is an opera Singspiel in three acts by Wolfgang Amadeus Mozart. The German libretto is by Christoph Friedrich Bretzner with adaptations by Gottlieb Stephanie. The plot concerns the attempt of the hero Belmonte, assisted by his servant Pedrillo, to rescue his beloved Konstanze from the seraglio of the Pasha Selim.
The company that first sponsored the opera was the Nationalsingspiel ("national Singspiel"), a pet project (1778–1783) of the Austrian emperor Joseph II. The Emperor had set up the company to perform works in the German language (Italian opera was already popular in Vienna). This project was ultimately given up as a failure, but along the way it produced a number of successes, mostly a series of translated works. Mozart's opera emerged as its outstanding original success.
The inspector of the Nationalsingspiel was Gottlieb Stephanie. When the 25-year-old Mozart arrived in Vienna in 1781, seeking professional opportunity, one of the first tasks to which he addressed himself was to become acquainted with Stephanie and lobby him for an opera commission. To this end, he brought a copy of his earlier opera Zaide and showed it to Stephanie, who was duly impressed. Mozart also made a strong impression on the manager of the theater, Count Franz Xaver Orsini-Rosenberg, when in the home of Mozart's friend and patroness Maria Wilhelmine Thun the Count heard him play excerpts from his opera Idomeneo, premiered with great success the previous year in Munich. With this backing, it was agreed that Stephanie would find appropriate material and prepare a libretto for Mozart. Stephanie complied by first pirating and then altering Belmont und Constanze, oder Die Entführung aus dem Serail, an earlier work by Bretzner, who later complained loudly and publicly about the theft.
Industry:Drama
Ernani is an operatic dramma lirico in four acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play Hernani by Victor Hugo.
Verdi was commissioned by the Teatro La Fenice in Venice to write an opera, but finding the right subject took some time, and the composer worked with the inexperienced Piave in shaping first one and then another drama by Hugo into an acceptable libretto. As musicologist Roger Parker notes, the composer "intervened on several important points, insisting for example that the role of Ernani be sung by a tenor (rather than by a contralto as had originally been planned).
Ernani was first performed on 9 March 1844 and it was "immensely popular, and was revived countless times during its early years". It became Verdi's most popular opera until it was superseded by Il trovatore after 1853. In 1904 it became the first opera to be recorded completely.
Industry:Drama
Ero s onoga svijeta (usually translated as Ero the Joker, literally Ero from that world) is a comic opera in three acts by Jakov Gotovac, with a libretto by Milan Begović based on a folk tale. The genesis of the opera was at Vrlička Česma in the town of Vrlika, a hometown of Milan Begović.
According to Croatian musicologist Josip Andreis, Ero s onoga svijeta is "not only the most successful Croatian comic opera to this day, but also the only Croatian opera with a presence in the theaters abroad".
Composition of the opera began on October 10, 1932 and progressed in three stages, being finished on May 8, 1935. The first performance was on November 2, 1935 at the Croatian National Theatre (Hrvatsko narodno kazalište) in Zagreb, and the opera has since become the most performed work of South Slavic music literature.
The first performance was conducted by Gotovac himself, and he felt that the opera was nicely received by the audience. In Novosti Milan Katić described the opera in superlatives, and in Belgrade Pravda Stražičić shared this positive sentiment. An often-quoted dismissive opinion ("And again a Croatian composer wrote an opera in vain") allegedly found in Lujo Šafranek-Kavić's review in Jutarnji list, a Zagreb-based newspaper, has been found by recent research to be a fabrication. The actual review was generally very positive, with Šafranek-Kavić giving particular praise to the Gotovac score, while having reservations about the quality of the libretto.
Ero the Joker saw its first performance outside Yugoslavia in Brno, Czechoslovakia, translated into Czech in 1936, and after that it came back to the National Theater (Narodno pozorište) in Belgrade, Yugoslavia on April 17, 1937. It was next put on stage more than ten years later, on February 27, 1948, in the Serbian National Theatre (Srpsko narodno pozorište) in Novi Sad where it has been put on five times since. All totaled, Ero the Joker has found its way to the stages of more than 80 world theaters, and has been translated into 9 languages. Between 1935 and 2010 it has seen 660 performances in the Croatian National Theatre in Zagreb alone.
Gotovac and Begović found the basics for the opera's music and text in the folklore of many South Slavic groups, ranging from Dalmatian folklore (Opera Finale) to songs from Kosovo (opening chorus Duni mi, duni, lađane).
Industry:Drama
L'étoile is an opéra bouffe in three acts by Emmanuel Chabrier with a libretto by Eugène Leterrier and Albert Vanloo.
Chabrier met his librettists at the home of a mutual friend, the painter Gaston Hirsh, in 1875. Chabrier played to them early versions of the romance "O petite étoile" and the ensemble "Le pal, est de tous les supplices..." (with words by Verlaine which Leterrier and Vanloo found too bold and toned down). They agreed to collaborate and Chabrier set about composition with enthusiasm. The story echoes some of the characters and situations of Chabrier's Fisch-Ton-Kan.
L'étoile premiered on 28 November 1877 at Offenbach's Théâtre des Bouffes Parisiens. In its initial run the modest orchestra was appalled at the difficulty of Chabrier’s score, which was much more sophisticated than anything Offenbach wrote for the small boulevard theatre.
It was first performed outside France in Berlin on 4 October 1878, then in Budapest on 23 November 1878. In New York City in 1890, an English translation was titled The Merry Monarch, with new music by Woolson Morse. Chabrier's music fared no better in London in 1899, where the score was rewritten by Ivan Caryll for an adaptation at the Savoy Theatre called The Lucky Star. In Brussels in 1909, Chabrier's music was restored, and there was a performance at the Arts Décoratifs Exposition in Paris in 1925, conducted by Albert Wolff.
The operetta's first major revival was on 10 April 1941 at the Opéra-Comique in Paris under Nazi occupation, with Fanély Revoil, René Hérent, Lillie Grandval and André Balbon, at which time highlights were recorded, conducted by Roger Désormière; this production was revived in December 1946 with Revoil and Payen. New productions were mounted at the Opéra-Comique in October 1984 with Colette Alliot-Lugaz and Michel Sénéchal in leading roles, and in December 2007 with Jean-Luc Viala and Stéphanie d’Oustrac.
The first complete recording, by EMI in 1985, conducted by John Eliot Gardiner, followed a production at the Opéra National de Lyon the previous year starring Alliot-Lugaz, which was also filmed for television by FR3 in November 1985 and broadcast in 1986.
L'étoile has been performed with increasing frequency and further afield over recent years, with productions at Opera North in 1991, Glimmerglass and Maastricht in 2001, New York City Opera in 2003 (revived in March 2010), Toronto in 2005, Montreal and Cincinnati in 2006, Zurich in 2007 and Geneva in 2009. In 2010 it was performed at the Austin Lyric Opera, Texas, the Berlin State Opera (conducted by Simon Rattle) and Theater Bielefeld. A production by David Alden has been mounted in repertory at Frankfurt Opera in 2010 and 2011. New Sussex Opera staged a touring production in Sussex and London in English, as Lucky Star, in 2013 (conducted by Nicholas Jenkins).
Industry:Drama
