Recently in Performances
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
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.
19 Nov 2004
Handel's Semele at the ENO
Semele Robert Thicknesse at the Coliseum [Times Online, 20 November 2004] IT HAS to be the Prince of Wales's favourite opera. "Nature to each allots his proper sphere," avers Congreve's coolly brilliant libretto, and proceeds to itemise the results of...
Robert Thicknesse at the Coliseum [Times Online, 20 November 2004]
IT HAS to be the Prince of Wales's favourite opera. "Nature to each allots his proper sphere," avers Congreve's coolly brilliant libretto, and proceeds to itemise the results of getting above your station. (True, it also warns royals to be careful whom they sleep with.) This tale of Jupiter's incendiary affair with mortal Semele is a satire on celebrity, ambition and vanity that might have been written for the Big Brother generation.
And English National Opera's revival of Robert Carsen's production does it justice of a modern kind: gorgeous to look at and listen to, it is also rather shallow, a romp rather than a morality tale. It reserves its disapproval more for the drunken toffs who celebrate the birth of Bacchus from his mother's ashes (an entertainingly profane moment, welcoming this jovial son of god in a "Lenten oratorio") than for the "vain wretched fool" Semele, whose destruction is so easily fixed by Juno.
We are in a 1950s milieu of upper-crust debauchees in frocks to make the ladies gag with envy. The updating is more for visual effect than dramatic relevance, and it works wonderfully with its stark side-lighting, blessed use of the huge open stage and a welldirected chorus keeping things ticking over. And as well as beautiful images (Semele lying in bed in Heaven with Earth shining through the window, seen through a gauzy curtain) it is full of sight gags, character comedy and a theatrical intelligence to match the authors'.
Carolyn Sampson sings poor, silly Semele with beguiling facility, style and beauty, adding her own roulades to Handel's already extreme demands, pinpointing every note of the coloratura and doing it all with liquefying sexiness: slinking on to sing "Endless pleasure, endless love" as breathily as Marilyn cooing happy birthday to JFK, coyly baring all before slipping back into Jupiter's boudoir, tossing off an outburst of joyous vanity, hyperventing the hysteria of the mistress who's got above herself. This is a great performance.
It is well matched: Ian Bostridge's Jupiter gradually unbends to deliver the sweetest soft legato, Patricia Bardon's Juno is hilariously fiery as the (literally) queenly betrayed wife, and Janis Kelly camps Iris up something terrible.
After a languid start, Laurence Cummings, conducting, brings real Handelian sensibility and drama to the orchestra, and the chorus has a fine time undressing, drinking and indulging in some of Handel's loveliest music. A top evening, ENO right back on form, and the audience too.
Semele — Carolyn Sampson
Jupiter — Ian Bostridge
Ino — Anne-Marie Gibbons
Juno — Patricia Bardon
Athamas — Robin Blaze
Somnus — Graeme Danby
Cadmus — Iain Paterson
Iris — Janis Kelly
Click here for a synopsis of the opera.