Recently in Performances
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
Michael Grandage's production of Mozart's Le nozze di Figaro, which was new in 2012, returned to Glyndebourne on 3 July 2016 revived by Ian Rutherford.
Said and done the audience roared its enjoyment of the performance, reserving even greater enthusiasm to greet stage director Christophe Honoré with applauding boos and whistles that bespoke enormous pleasure, complicity and befuddlement.
‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.
27 Nov 2004
Angels in America at Theatre du Chatelet, Paris
Clipping the wings of an apocalyptic epic (Filed: 27/11/2004) Rupert Christiansen reviews Angels in America at Theatre du Chatelet, Paris There are plenty of wonderful operas taken from good plays, and a few (Otello and Wozzeck, for example) taken from...
Clipping the wings of an apocalyptic epic
Rupert Christiansen reviews Angels in America at Theatre du Chatelet, Paris
There are plenty of wonderful operas taken from good plays, and a few (Otello and Wozzeck, for example) taken from great ones. What these all have in common is a sense that music - more specifically, the singing of the text - expands the drama and enriches the characters. It isn't enough simply to reflect what is already there, or to enhance the mood like a film score. Music must be the driving force, the medium of revelation.
This is the hurdle at which the composer Peter Eötvös and his librettist wife Mari Mezei fall flat on their faces. Their adaptation of Angels in America, Tony Kushner's apocalyptic epic of Aids and the spiritual turmoil of the Reagan era, condenses rather than expands the theatrical original, squeezing a gallon of drama into a pint-pot of opera.
It isn't just a matter of cutting too many of Kushner's words or scenes. The problem is that anyone with memories of the play on stage (or in Mike Nichols's excellent screen version, shown on Channel 4 earlier this year) will find its operatic incarnation thinner in every respect: the characters diminished, the plot less rich, the language less resonant.
Out goes the sexiness - Prior's anguish at the loss of Louis, and the latter's affair with the buttoned-up Mormon Joe scarcely register. Out goes the Satanic grandeur of the lawyer Roy Cohn, reduced here to a deluded buffoon. Out goes the Dickensian cumulation of the narrative and its intertwining of disparate human fates.
What is left moves with cartoon-like swiftness, drained of emotional urgency and oddly dated - a bad dream of a crisis now replaced by other terrors.
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