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Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
04 Dec 2004
Berlioz in Boston
Not strictly opera, but so full of the usual suspects . . . My experience of Berlioz's Dramatic Symphony Romeo et Juliette (R&J) came full circle last night at Boston's Symphony Hall. I had first heard the work live in...
Not strictly opera, but so full of the usual suspects . . . My experience of Berlioz's Dramatic Symphony Romeo et Juliette (R&J) came full circle last night at Boston's Symphony Hall. I had first heard the work live in 1968 when Charles Munch conducted the BSO and soloists Rosalind Elias, Jerold Siena and Donald Gramm. Parenthetically, that's 36 years ago, Ms. Elias's career was at least a dozen years old at the time and she's still singing in San Francisco's Vanessa and directing operas. Quite an achievement.
Last night James Levine conducted the orchestra, the Tanglewood Festival Chorus, Lorraine Hunt Lieberson, Matthew Polenzani and Julien Robbins in a superbly played and sung — and very personal vision — of R&J. In his program note Mr. Levine speaks of how much he loves Berlioz; how gratifying it is to play his music, particularly with America's most French repertory-oriented orchestra; how much Berlioz he will be scheduling with the orchestra in the near term; and how fresh and controversial the composer still is, even in France. While I have heard the work played ravishingly by other conductors, what distinguished this performance was that Levine took seriously the word "Dramatic."
The mezzo and tenor soloists do not portray the characters in R&J; she works with a chamber chorus as narrator and he sings the song of Queen Mab but otherwise does not in any represent Mercutio. The bass does, at the very end, recognizably portray Friar Laurence and the chorus takes the role of the Capulets and Montagues, but it's way to late in the game at that point to make a case for the piece as anything but a symphonic work. The love duets, the death scene and other big moments in the story are all orchestral and it is here that Levine chose to bring his operatic persona to the fore. This purely orchestral music was strongly characterized. The Ball at the Capulets had a festive air but with a strongly menacing undertone, a militant declaration that this was THE party being given by THE family. During the scene in the tomb, the sustained notes by the first clarinet went to the edge of acceptable tone to portray the agonized cries of the dying lovers. Under Levine's direction, string passages in the Introduction and in a couple of other places in the score very firmly pointed the way — in 1839 — to what Wagner would do in the great chromatic string passage that opens the mountain top scene at the end of Siegfried — music that Wagner was to write in the mid-1860s.
The Boston Symphony played magnificently, with some astonishing unanimity and virtuosity of string attack. Brass was rock solid and there was a sustained glow from the stage. The chorus enjoys the directorship of John Oliver and sounded like a French chorus on this occasion. I was delighted to discover a student of mine from a quarter of a century ago, one who used to build and rig scenery for our productions, singing in the bass section. Ms. Hunt Lieberson has always made absolute sense as a French mezzo and her claret-colored voice was in fine condition. Both she and Mr. Polenzani sang with the words well forward, floating ON the tone as is right for the style. His Queen Mab aria is a kind of rapid patter with pinpoint interjections by the chorus — it flew by as light as gossamer with bright, clear tone and complete confidence. Mr. Robbins was a noble, rich-voiced Laurence, his voice placed just a bit too far back in the mouth for ultimate clarity in French music, but in every other way he satisfied.
The audience was extremely enthusiastic.
Technical Coordinator for Theater Arts
Massachusetts Institute of Technology