Recently in Performances
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
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.
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