Recently in Performances
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
24 Nov 2004
OONY Presents La Fanciulla del West
Superb, if mixed, Fanciulla at OONY Last night's La Fanciulla del West at Carnegie Hall was the classic case of the whole being much better than the sum of its parts. It was a thrilling performance of Puccini's score and...
Superb, if mixed, Fanciulla at OONY
Last night's La Fanciulla del West at Carnegie Hall was the classic case of the whole being much better than the sum of its parts. It was a thrilling performance of Puccini's score and a huge, fully deserved, personal triumph for Aprile Millo.
Of the three roles Ms. Millo has done for OONY recently, this was surely the most successful, better even than her storied Adriana Lecouvreur and easily obliterating memories of her pale La Gioconda. For one thing, the role sits perfectly for her voice,allowing its beauty and sensuousness to emerge almost effortlessly. The high notes are still possible for her, even if the tone now spreads just noticeably,and they are both substantial and secure. Her major current technical limitation -- not being able to do anything in the top register piano let alone pianissimo, was no handicap in this score. She dominated the proceedings vocally and created a believable character, with no trace of the pretentious grande dame mannerisms that had trivialized her Gioconda. Her Minnie was down to earth, courageous, and emotionally vulnerable -- and Ms. Millo seemed to enjoy portraying her immensely. Audience reaction was tumultuous and it was all richly deserved, not inflated or fake enthusiasm for a cult figure. Last night Aprile Millo was a major Italian Soprano in great shape and in full communication with her audience.
I don't mean to suggest that it was a case of Aprile and the seven dwarfs, but nothing else except the spirited, tonally gleaming work of the New York City Gay Men's Chorus and William Ferguson's strongly sung and acted Nick the Bartender came anywhere near her level. The orchestra played very well, with all sorts of inner detail cleanly articulated, but conductor Eve Queler let it roar out at volume levels that covered singers mercilessly. Ms. Queler has a penchant for finding promising, interesting young singers and giving them wonderful exposure in these concert performances. Last night, however, the entire first scene until Minnie's entrance (except for the brief Jake Wallace scene) that features a dozen such singers, was experienced as pantomime. Time after time during the evening, the orchestra was allowed -- encouraged? -- to obliterate anything in its path. As a performance of the Fanciulla symphony it wasn't bad, but Puccini did write this as an OPERA and far too many moments, even for the three principal singers, were inaudible.
There was another disappointment. Tenor Carl Tanner, who has been impressive elsewhere, was miscast here. Like Minnie, Dick Johnson has some spectacular ascents into the upper register and Mr. Tanner didn't fail. But Johnson -- also like Minnie -- really lives in his middle voice and needs strength at the bottom as well. Mr. Tanner's voice doesn't blossom down there and its focus is warm and soft rather than clear and brilliant. Given the orchestral volume, he was mostly either inaudible or not really present vocally from his first entrance until half way through the final duet of act one. Act two was much the same. In act three, he seemed to find enough volume for basic audibility but the heart of the role does not lie well for him, particularly under the orchestral circumstances he faced last night.
Marco Chingari, a handsome man with a fine-grained baritone of nice, warm timbre, made a sympathetic if moderately-scaled Sheriff Rance. Stephen Gaertner's Sonora emerged an attractive presence, Daniel Mobbs sang Jake Wallace beautifully, Mary Ann Stewart actually made something of Wowkle, and Mr. Ferguson's Nick showed promise of a fine lyric tenor leading man in the making. Evaluation of the rest of the large cast must await a performance in which they can actually be heard with some consistency.
Ira Siff faced some serious challenges in directing a semi-staged Fanciulla. There's a massive amount of realistic action and he was also facing a leading lady who has gained a considerable amount of weight in the past year and who elected to sit during most of act two. This last created serious difficulties for Mr. Tanner when attempting to play any scenes opposite her and Mr. Siff may simply have given up. Act two featured a lot of wandering around the stage until the climactic poker game for Johnson's life. Here, where Ms. Millo could justifiably have sat across a table from Rance, Mr. Siff had the singers standing on either side of the podium singing straight out at the audience with not a card in sight. Fortunately, Ms. Millo made the moment electric visually and vocally all by herself.
But I cannot stress enough that SHE was enough. The performance last night will be remembered as a huge success, a success that rests firmly on her fully capable shoulders.
Technical Coordinator for Theater Arts
Massachusetts Institute of Technology