Recently in Performances
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
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On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
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Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
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Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
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.