Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.