Recently in Performances
Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
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