Recently in Performances
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
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