In the list of the many sensational opera performances staged at Symphony Hall over nearly a quarter of a century, this Bournemouth Symphony Orchestra presentation of Richard Strauss' powerful one-acter
Salome is an immediate stand-out.
Billed as "Canada's first lesbian opera," the one-acter
had its world premiere at Vancouver's Queer Arts Festival at the 250-seat Roundhouse performance hall, a setting that pulled viewers into a private world and emphasized that the project has truly been a labor of love.
Here are some questionable renditions from Emelise Aleandri's otherwise quite smart translation of the one-acter
Shhhh by Etta Cascini: "con tono cupo" / "profoundly," and "fuma nervosamente" / ".
was first staged with choreography by Leonide Massine for Serge Diaghilev's Ballets Russe in 1920 and has passed through many choreographic hands since then.
La notte di un neurastenico (1959) is a comic one-acter
commissioned by RAI, with a text by Riccardo Bachelli.
Theatre critic Glenne Currie quarreled with Williams for writing "a lightweight work,"(7) while Mel Gussow labeled the one-acter
"a slight slapstick comedy about two inept elderly persons on an ocean liner.
Typical of these early selections is Next, a one-acter
about a "fat man in his late forties" who is mistakenly asked to report to a military infirmary for his preinduction physical.
It's a one-acter
in five scenes lasting just over an hour, the scoring relatively spare and the soundscape tonal with, in Getty's words, "hints of atonality.
Both operas originally had spoken dialogue, in both the folk element was later strengthened (in the Bartered Bride with dance, and in the Two Widows with the added characters of Tonik and Lidka and similar changes), and both formed an important intermediate step towards The Kiss, the first full-length Czech fully musically composed comic opera (the first Czech opera without spoken dialogue was Blodek's one-acter
In the Well.
The New York season will also feature the local premiere of Judas Tree, MacMillan's final ballet, a one-acter
set to an original score by Brian Elias.
Decidedly scary is Ravel's L'Enfant et les Sortileges, a one-acter
cautionary tale telling of a naughty child the contents of whose nursery come alive in order to plague and haunt him.
The resemblance may hold true in theory, but in its execution the opera more closely resembles another lurid, but much more similarly static, one-acter
of the first decade of the 20th-century, Schoenberg's sopranosolo Erwartung If the still (to many ears) strange sonorities of that score don't scare you off, you're probably ready for the sound world of Feng Yi Ting.