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It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.
Based on a play, Chrysomania (The Passion for Money), by
the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.
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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