Recently in Performances
During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704). The work of these three composers may be less familiar to listeners, but Florilegium revealed the musical sophistication - under the increasing influence of the Italian style - and emotional range of this music which was composed during the second half of the seventeenth century.
Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà - a chanteuse raised from the backstreets to the bright lights - is a walking compendium of emotions. Ruggero Leoncavallo’s eponymous opera lives by its heroine. Tackling this exhausting, and perilous, role at the Barbican Hall, The soprano Ermonela Jaho gave an absolutely fabulous performance, her range, warmth and total commitment ensuring that the hooker’s heart of gold shone winningly.
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
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.