Recently in Performances
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
07 Dec 2004
Rigoletto at Amsterdam (and an appraisal of tenor Joseph Calleja)
How does it come about that "modern" productions date so quickly while "traditional" ones can go on for ages ? Probably, because ideas that once were fresh and innovative are immediately picked up by everybody in the business, copied (sometimes...
How does it come about that "modern" productions date so quickly while "traditional" ones can go on for ages ? Probably, because ideas that once were fresh and innovative are immediately picked up by everybody in the business, copied (sometimes ad nauseam) and seem stale when they reappear some years later.
For one moment I thought that the great recycler-of-the-one-idea-he-ever-had, Mr. Robert Wilson, had directed the Amsterdam Rigoletto. During the prelude the chorus slowly raised their arms in the well known tai-chi manner while the ugliness of their red unisex penguin costumes reminded me of the horrors during the second act of Aida at De Munt in Brussels (later spewed out at London's Covent Garden). A few whispered words told me that the director actually was the Dutch Monique Wagemakers, best known for her work as director of a regional company, and that the production had first been shown in 1996. Miss Wagemakers succeeded exceedingly well in rehashing all clichés of Das Regietheater. The chorus was not only a company of courtiers but of course were viewers as well from high on at the events in the last act. A normal floor is out of the question when one can use an inclined plane that is a comment on its own on what's happening. And to top it all (pun intended) Rigoletto's house is somewhat reduced to one very high steep and rather small flight of steps. There Gilda may sing her Caro nome and there she is kidnapped. One could almost sense the fear of soprano and chorus when they had to wrap her in and then lower her down after Zitti, ziti. And the poor baritone had to run up quite a few steps before able to launch his Ah ! La Maledizione and as could be expected, the voice had no air left and it was only a tiny curse. In short Miss Wagemakers only succeeded while trying to free us from old clichés in giving us new ones.
Mind you, I realize only too well that an old war-horse as Rigoletto is difficult to renovate; especially after Jonathan Miller's updating to Little Italy in the fifties at the English National Opera some 20 years ago. That was an example of a well thought out production that made the opera seem like new to me and I admit, made it difficult for this reviewer to accept the traditional court of Mantua. Still give me the court any day if the alternative is a box of clichés. The one positive aspect of this Rigoletto was the treatment of the singers. No impossible gestures and the face firm to the public.
Conductor Daniele Callegari is a man who knows his Verdi and I was somewhat surprised he chose the easy option to make an impression now and then: either too slow tempi (the prelude) or too fast ones (Cortiginani vil razza). But most of the time he kept a firm rein on the orchestra and was not above indulging his singers. Anthony Michaels-Moore was Rigoletto. I wonder if he could make the same excellent impression in a theatre a size bigger (say Covent Garden). Michaels-Moore is excellent in early Verdi and I liked his Doge in I due Foscari at De Munt very much. He is no roaring madman as Bastianini was and for a moment I wondered if Rigoletto is not a shade too heavy a role. But he succeeded admirably. The voice is smooth, well-rounded and used very stylishly. He often reminded me of Fischer-Dieskau's famous DG-recording in the way he treated words and phrases. But Michaels-Moore 's voice is not a short tenor manqué but a real baritone with a firm brown core and a strong secure top.
Young Italian soprano Cinzia Forte sang Gilda. She has a nice lirico with a firm coloratura technique; somewhat like Rosanna Carteri or young Moffo. The first act she remained a little too bland, too colourless. Just a nice but not too distinct voice. But this changed in the second act when the voice bloomed and took colour. She will probably go far. Roles like Sparafucile and Maddalena are sometimes not cast from strength but one realizes the importance of good voices in these roles as well when one has suffered the hollow ugly tones of both Mario Luperi and Graciela Araya.
And then there was tenor Joseph Calleja whom I had heard a few years back at De Munt in Don Pasquale. In the meantime his career is going fast, maybe even a little too fast. There is a first recital on Decca where he sings a lot of stuff that is simply unsuitable for the voice like Adriana Lecouvreur. So I wondered how much he had improved on his very fine Ernesto of a few years ago. First of all, the voice has gained in strength and volume without damaging the basic colour. Imagine a little bit of young Björling mixed with parts of young Pavarotti and add a healthy dose of young Tagliavini while the small fluttery vibrato is all Calleja's own. In short, a mellifluous and exciting lyric tenor sound in the very best Italian tradition. The voice is maybe not over big but carries extremely well in a difficult theatre like Amsterdam. The only weakness for the moment lies at the very top of the range and that is somewhat unlike Pavarotti and Björling but more than one tenore di grazia had a short top. Still that has improved too. The high B in La donna è mobile rang out freely, courtesy of Maestro Callegari who allowed his tenor a deep breath before attacking the note. Calleja (please pronounce his name as if he would be Spanish, thus Calle- ch- a) for the moment has not got a high C and he should refrain from taking the high option in Addio, addio which he sang in falsetto. There is one Pavarotti-feature he should better not emulate. He will be only 27 next January and already has got weight problems which make costume designers looking for solutions so as not to accentuate his girth. So, please Mr. Calleja, try to rein in your appetite after a performance and it will be better for your breath too.
Now having heard both Calleja and Villazon at Amsterdam in a few months time (and Florez at De Munt), how do they compare ? Villazon is definitely the better actor though as a singer he has his weaknesses too: not much of a piano and not a shameless top note hunter either as is Florez. Calleja definitely has the more beautiful voice, the most exciting rich timbre of all three. His is a golden sound that reminds us of the very best Italian lyric tenors. Villazon is an exciting performer and an impressive voice with his dark smooth sound sometimes quivering from emotion like the fine verismo tenors before the war. Florez lacks either the exquisite sound of Calleja or the big sound of Villazon but is nevertheless a miracle in his repertoire. Personally and this is personal indeed I'd place Calleja nr. 1, followed by Villazon and Florez on third place. But how lucky we are that after the dreary lean years of the late eighties and nineties we have once more such three fascinating tenor voices.