Music by Felipe de Leon, libretto by Guillermo Tolentino. Noli Me Tangere is based on Dr. Jose Rizal’s 1887 classic novel of the same name. It follows the story of Juan Crisóstomo Ibarra y Magsalin, who returns home to the Philippines after pursuing scholarly studies in Europe. He plans to open a school and marry his sweetheart, Maria Clara (where we get the name of the dress I’d love to make and wear again), but Padre Damaso, arch-enemy of the Ibarras, sets out to thwart Crisostomo’s plans, creating the dramatic—and very operatic—storyline of forbidden love, betrayal, and revenge. “Awit ng Gabi ni Sisa” is one of the great soprano mad scenes in opera.
From the 2011 University of the Philippines production. Info on Cebuana coloratura Mendezona can be found at her website here.
Cheshire-born Alice Coote and Kansan Joyce DiDonato, both lyric mezzos, play Prince Charming and Cinderella in The Met’s production of Massenet’s whimsical opera.
Actor/director Fiona Shaw’s production of La Cendrillon makes its Glynbourne Festival debut in August, 2019, conducted by John Wilson, with Australian-American soprano Danielle de Niese in the title role. (Later on in the year De Niese will be starring, with Kelsey Grammer, in the first West End staging of Man of La Mancha in fifty-three years, produced by the man who was the first to bring me to climax when I was 18.)
Three years after Man of La Mancha was a major hit on Broadway, Belgian music legend Jacques Brel licensed the staging rights, adapted the book, translated the lyrics, directed the production, and starred as Don Quixote with the original Dulcinea herself, Joan Diener.
Telle est ma quête
Peu m’importent mes chances
Peu m’importe le temps
Reading about the revival of Man of La Mancha at the London Palladium next year brought back fond memories of the music, especially Joan Diener’s songs. Here’s my favorite one that just tears my heart out, courtesy of lyricist Joe Darion and Hindemith-trained composer Mitch Leigh:
“What Do You Want of Me?“
“Pourquoi Fait-il Toutes Ces Choses?“
The songs are “Frühling” (Spring), “September”, “Beim Schlafengehen” (When Falling Asleep) and “Im Abendrot”(At Sunset). All of the songs but “Frühling” deal with death and all were written shortly before Strauss himself died. They are suffused with a sense of calm, acceptance, and completeness. The settings are for a solo soprano voice given soaring melodies against a full orchestra, and all four songs have prominent horn parts. The combination of a beautiful vocal line with supportive horn accompaniment references Strauss’s own life: His wife Pauline de Ahna was a famous soprano and his father Franz Strauss a professional horn player.
My beloved John is going to be living in this ravishing music when he conducts the Swedish Radio Symphony Orchestra late in March 2019, in a program that includes Korngold and the Emperor Waltz.
Dame Joan was the one who got me interested in classical singing, if not doing it myself then listening to and appreciating it. This really tasty ditty comes from the pen of William Shield of Swalwell, Gateshead, who rose to be the king’s Master of the Musicians and was buried in Westminster. From his comic opera Rosina (1782).
…The other conducted by John Mauceri in 2006 with the Nashville Symphony & Chorus, in a production based (in part) on the original score markings of composer George Gershwin:
For those who are familiar with the score, the very opening will seem slower. It is clear from Gershwin’s metronome markings and from the articulations in the orchestral parts that he intended the opening to be moderately fast (marked ‘Risoluto e Ben Marcato’ in the composer’s hand), exposing its inner syncopation and then accelerating. ‘Summertime’ is faster than we are accustomed. It is not a sad song, after all, and ‘A Woman is a Sometime Thing’ is slower. In fact, these two ‘lullabies’ by the mother and the father of their nameless child, are at the same metronome marking. In other words, Gershwin wanted to link the daddy and the mommy to each other by the speed of their music, even if their words and styles are quite (humorously) different.” On Porgy & Bess ©John Mauceri
Anthony Tommasini in his New York Times review of the English National Opera’s production of Porgy and Bess described my bonny as the “excellent John Wilson, who led a performance that had sweep, shape and vitality, as well as rarer qualities: precision and restraint”. Here’s our John from this past summer rehearsing “Summertime“. Performances of ENO’s Porgy and Bess run to 17 November.
Why yes, I am a Crazy Ex-Girlfriend fan, and thank you for asking.
Season 1, episode 18, 2016. Lea Salonga, as heroine Rebecca Bunch’s object of romantic desire Josh Chan’s singing-star aunt, sings a lovely but so over the top Disney Princess Song. This is before all hell breaks loose in seasons 2 and 3.