Recently in Performances
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.
One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).
At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.
At the heart of this Wigmore Hall recital were two sacred vocal works for solo countertenor and small instrumental forces, recently recorded by Florilegium and Robin Blaze to considerable critical acclaim: J.S. Bach’s cantata ‘Vergnügte Ruh, beliebte Seelenlust’ and Giovanni Battista Pergolesi’s ‘Salve Regina’.
After the bitter disappointment of
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