Recently in Performances
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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