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The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
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.
02 Jan 2005
Britten's A Midsummer Night's Dream at De Munt, Brussels
© Johan Jacobs De Munt's Christmas production plays into high summer and it is magnificent to behold. Scottish director David McVicar is somewhat of a cult director in Antwerp and Brussels. In Antwerp he directed a fine Idomeneo and an...
© Johan Jacobs
De Munt's Christmas production plays into high summer and it is magnificent to behold. Scottish director David McVicar is somewhat of a cult director in Antwerp and Brussels. In Antwerp he directed a fine Idomeneo and an unforgettable Contes d'Hoffmann (later reworked for Salzburg), fully respecting the original intentions while in Brussels he did a spectacular and updated Agrippina and a dark and brooding Don Giovanni. Though he is now one of the happy few directors wanted all over the world he nevertheless often returns to this country. McVicar has one overriding obsession: he wants to tell a good story and he wants to tell it clearly. He doesn't like humbug and clearly speaks out when he sees it. Of Robert Wilson's Aida (also premièred in De Munt and later given at Covent Garden) he says: " "they are constructing something on the scene while a sound track of Aida is running" ; a pronouncement that more or less corroborates with the opinion of the Aida (Norma Fantini) who called it "Aida in Tokyo".
Well, McVicar delivered the goodies. This was Midsummer Night's Dream as Shakespeare probably would have loved to see it and never saw it as the technical means and the money at his disposal were infinitely smaller. In an interview after the performance I read that the play is performed on a giant attic of a big English country house and that came somewhat as a surprise to me. The lightning (Paule Constable) and the scenery were so ingenious (Rae Smith) that I took it for a wood, be it one without too many leaves. And with the rising costs of garbage collection nowadays, one often finds seats and all kinds of props in our few woods. The whole looked rich and sumptuous and gave a wonderful idea of a fairy tale: somewhat like Disney with style. So did the costumes of the many performers (Smith too) and it was a joy to see fairies instead of giant bees or spiders or the nowadays popular cliché of clowns.
McVicar likes his singers to think with him and to have the same attitude towards telling a clear story though he had some stiff demands to made upon the cast (he likes to meddle with casting). Puck (David Greeves) didn't only have to sing and to act but to perform some difficult acrobatics high in the sky as well. Oberon can lengthen and shorten his height in the best fairy tale tradition and I admired Michael Chance who quietly and assuredly continued singing while his legs were lengthening with some 14 feet.
The big cast was lead by bass-baritone Laurent Naouri as Bottom. He doesn't like his wife to use her influence and I wish she would. It needn't end in a Sutherland-Bonynge or Freni-Ghiaurov blackmail but Naouri is a very fine singer whom I'd like to hear more in his native repertory where he could take over José van Dam's sceptre. He failed in his Met audition several years ago and I think the Met would do well to give him a second chance instead of only engaging Madame Naouri-Dessay. As he studied at the Guildhall in London his voice freely rang out in the verses culled from the original play. Laura Claycomb was the sensuous Tytania though I think the part is somewhat low for her high coloratura soprano. Countertenor Michael Chance as Oberon didn't endear me to his kind of voice as his sounds were weak and unfocused. All other artist performed worthily. Special mention must be made of the youth choir of De Munt. Strengthened by a few other choirs they sang and acted their heart out and either McVicar worked wonders with them or otherwise they are all headed for a big career on the scene due to their innate talent. Ivor Bolton was the careful conductor of the splendid sounding orchestra.
And so we come to the main drawback in my eyes and especially my ears. Frankly, I don't think that Britten's score deserves such a splendid and costly production. By 1959 the composer was probably tired of criticism that he was old-fashioned, that only movie composers employed tonality and he tried to prove his detractors he too was a modern composer. 45 years later this only results in a far too heavy orchestration always dominated by the woodwinds, all kinds of drums, bells and timpani resulting in a lot of dissonance. The original play was reduced to one third but the original words were used in the libretto. Due to all the noise Shakespeare is in for a heavy drubbing. This reviewer who is a former teacher of English was not able to understand more than a few sentences from the female performers. The men as always could be understood somewhat better as they had a lot of sprechgesang but still spectators without the ability to read either the Dutch or French surtitles wouldn't know what the fuzz on the scene was all about. Britten never was a prolific tune-smith ("Young man, don't you think I would have written some fine melodies if I had had Verdi's talents" he remarked in 69 when I was complaining of lack of melody in his works). Only at the beginning and end of each act that Britten allows himself some lyric utterances but for the rest it is often a trip through the desert.
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