Recently in Performances
Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.
Dystopic vision of Carmen, brought to life by vibrantly gripping performances
Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.
Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?
The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.
New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.
I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.
Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.
There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.
On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.
Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.
Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.
R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?
A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.
It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.
San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.
In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
20 Dec 2004
Kata Kabanova at the Met
Janacek’s Kata Kabanova began this year’s run at the Met on Friday night with a very new cast including two important and highly successful debuts.
This is Janacek late in his career, writing on a Russian subject by the playwright Ostrovsky. His admiration for Russian culture and literature may also have led him to follow Anton Chekhov’s example — Kata moves swiftly with the sense that any extraneous word or note has been rigorously pruned away — it is an opera that speaks directly and powerfully to its audience. Last night’s audience — the Met was at least 90% full — reacted with enthusiasm that bordered on delirium when the final curtain rose again for beloved Finnish soprano Karita Mattila’s pride-of-place first solo bow.
Janacek's Kata Kabanova began this year's run at the Met on Friday night with a very new cast including two important and highly successful debuts.
This is Janacek late in his career, writing on a Russian subject by the playwright Ostrovsky. His admiration for Russian culture and literature may also have led him to follow Anton Chekhov's example — Kata moves swiftly with the sense that any extraneous word or note has been rigorously pruned away — it is an opera that speaks directly and powerfully to its audience. Last night's audience — the Met was at least 90% full — reacted with enthusiasm that bordered on delirium when the final curtain rose again for beloved Finnish soprano Karita Mattila's pride-of-place first solo bow.
Ms. Mattila is not perfect. Let's get out of the way the fact that the lower voice is rather dry and not the most interesting register she possesses. Beyond that, her Kata moved from strength to strength as she created a wholly convincing character and sang the role with blazing conviction, beauty of tone and a glorious upper register. Particularly in act 3 her talents as an actress were astonishing — her physicality in expressing Kata's self revulsion, then the poignancy and aching need for some kind of physical contact from the feckless Boris, then the radiant calm with which she sang that birds would fly over her grave and bring their young with them. Then she turned and instead of an actressy leap into the Volga, she simply dropped off the riverbank and let herself be absorbed in the ever-flowing river's history. The woman next to me gasped; when it was all over the crowd went crazy.
Judith Forst provided a scary Kabanicha, ramrod straight, seethingly intolerant, demanding, manipulative, ultimately unbearable and so wonderfully tempting to hate. Along the revival's director Paula Williams and the rock-solid bass Vladimir Ognovenko as Dikoj, Forst has reimagined the bizarre little scene for Kababicha and Dikoj in act 2. Formerly played as a scene where the drunk and slobbering Dikoj disgusts her, she is now visibly aroused and the scene ends with Dikoj on his knees clutching her hips and buttocks with his face buried in her bodice. The curtain quickly falls on what will certainly be a monstrous and morally hypocritical coupling in contrast to the healthier mating of Varvara (the luminous Magda Kozena) and Vana Kudrias (Ramond Very is a superbly detailed and sympathetic performance) or the tragic one of Kata and Boris.
Tenor Jorma Silvasti displayed warm and shimmering tone as Boris and Chris Merritt presented the spineless, trapped but well-meaning Tichon to the life. In his Met debut, conductor Jiri Belohlavek let a taut, propulsive and very beautiful reading of the score, seconded by the Met orchestra in top form. The cast was strongly applauded but it all paled next to the reception for Ms. Mattila. This was a star performance totally at service to the role and the work, sung and acted by a star performer at the height of her art.
Technical Coordinator for Theater Arts
Massachusetts Institute of Technology