This weekend, I caught one of the last performances of Lyric Opera of Chicago's early Christmas present for opera lovers: a production of Lehar's durable 1905 comic operetta "The Merry Widow" that was as bubbly as champagne and as bright as a Christmas tree.
I have a dream. I dream that some day I'll be able to walk into an opera house and not be faced with a production in which the stage director has imposed some sort of high concept on the piece that is either irrelevant to or openly contradictory to the intentions of the composer and librettist. Alas, as the Lyric Opera of Chicago production of Wagner's "Tannhäuser" demonstrates, that's still a dream.
The score of Elgar’s 1910 "Violin Concerto" carries the Spanish preface, "Aqui está encerrada el alma de ....." ( "Herein is enshrined the soul of ....." ). Is it a secret love letter to the wife of a member of Parliament or even, as Elgar biographer Jerrold Northrup Moore suggests, a tribute to several of the composer’s closest friends? And does it really matter anyway?