Recently in Performances
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
16 Dec 2004
Il ritorno di Ulisse in patria a Brescia
Una spiaggia di sabbia, due muri ai lati, l'ingresso monumentale alla reggia di Itaca sul fondo. E' incredibile come questa scena fissa semplicissima sia riuscita a reggere per le tre ore e mezza di spettacolo, ma non solo, a renderlo...
Una spiaggia di sabbia, due muri ai lati, l'ingresso monumentale alla reggia di Itaca sul fondo. E' incredibile come questa scena fissa semplicissima sia riuscita a reggere per le tre ore e mezza di spettacolo, ma non solo, a renderlo comunque vario e godibilissimo.
Sto parlando della messinscena dell'opera di Monteverdi gia' data a Cremona e anche altrove nel circuito dei teatri lombardi, che io ho visto domenica al teatro Grande di Brescia. E' una produzione proveniente da Aix-en-Provence, con le scene e i costumi di Anthony Ward e la regia di Adrian Noble. Per quanto riguarda la parte musicale, Ottavio Dantone dirigeva l'Accademia Bizantina, il coro Costanzo Porta e l'affollatissimo cast. Ma andiamo con ordine.
Accademia Bizantina, Ottavio Dantone, musical director
Come ho detto la scena era seplicissima. Solo, si aggiungevano a quanto ho descritto alcuni fili luminosi che calavano dall'alto e pochi effetti di fumo per le scene "celesti", qualche botola e praticamente niente altro. Eppure lo spettacolo era movimentatissimo: il regista ha chiesto molto ai cantanti in termini di recitazione e tutti hanno risposto molto bene. Capriole, ruote, arrampicamenti sui muri, salti, voli su semplicissime macchine teatrali. Non pensate che l'opera di Monteverdi sia stata trasformata in un circo: la regia e' stata rispettabilissima del libretto e della vicenda e l'unica liberta' che si e' presa, al di la' della vaga atemporalita' dei costumi, e' stato quello di dare all'insieme una colorazione orientale piu' che greca. Col risultato che i tre Proci sembravano piuttosto i Re Magi, ma era un guaio da poco. Il massimo della richiesta registica penso sia stato quello a Roberto Balconi, che fra le altre cose ha interpretato l'Humana Fragilita' nel prologo e che ha sportivamente accettato di cantare per venti minuti buoni completamente nudo, scioccando un po' le signore della pomeridiana domenicale ma nel complesso con un effetto drammatico notevole.
Che poi Balconi abbia la voce che ha... purtroppo e' un altro discorso. Mi sembra la Kabaiwanska dei controtenori, sembra che la voce gli debba essere estratta a forza dalle tonsille. Il cast era dominato da Furio Zanasi che era Ulisse e soprattutto da Sonia Prina che e' stata una Penelope assolutamente strepitosa. Bravissima, lo so che il suo timbro di voce non piace a tutti ma in questo Monteverdi e' stata esemplare per stile, per dizione (non abbiamo perso una sola sillaba del testo) per gusto negli ornamenti. Dieci con lode. C'erano poi, bravissimi, Sergio Foresti (Antinoo), Luca Dordolo (Telemaco) e Roberta Invernizzi (La Fortuna e Minerva). Gli altri erano accettabili su vari livelli, un po' fioca purtroppo la Melanto di Paola Quagliata.
Lo spettacolo sara' riproposto nei prossimi mesi a Ferrara e a Bari: se potete non perdetevelo.