Recently in Performances
This may be the twelfth revival of Jonathan Miller’s 1987production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
28 Jan 2005
Poppea at Palais Garnier
Parisians do not like camp. David McVicar’s production of Monteverdi’s last opera was jeered in October at the Théâtre des Champs Elysées and now David Alden has met the same fate. This is unfair because his use of radical kitsch is altogether more sophisticated and his manipulation of the singers faultlessly choreographed. In any case, this classic staging dates from 1997, when it was first seen in Cardiff and Munich. McVicar’s approach now looks like a pale copy of an industry template.
L'incoronazione di Poppea Paris Opera (Garnier)
By Francis Carlin [Financial Times]
Published: January 28 2005 02:00 | Last updated: January 28 2005 02:00
Parisians do not like camp. David McVicar's production of Monteverdi's last opera was jeered in October at the Théâtre des Champs Elysées and now David Alden has met the same fate. This is unfair because his use of radical kitsch is altogether more sophisticated and his manipulation of the singers faultlessly choreographed. In any case, this classic staging dates from 1997, when it was first seen in Cardiff and Munich. McVicar's approach now looks like a pale copy of an industry template.
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Un Monteverdi shakespearien
[28 janvier 2005] [Le Figaro]
Les premières se suivent et ne se ressemblent pas à l'Opéra de Paris. Le surlendemain d'une pénible Flute enchantée, Gérard Mortier nous invitait à un grand moment de fascination théâtrale avec le Couronnement de Poppée de Monteverdi, dans une mise en scène de David Alden qui avait déjà triomphé à Munich. Dans les fascinants décors de Paul Steinberg (ce damier aux perspectives fuyantes !), Alden réalise une mise en scène formidablement musicale, ou chaque geste est en adéquation avec le rythme dramatique de Monteverdi. Dans une sorte de palace de luxe stylisé, les personnages habillés à la façon jet set du XXe siècle, existent avec une force d'attraction et de répulsion irrésistible. De chanteurs d'opéra, on a fait de grands acteurs, capables de jouer la comédie et la tragédie, le burlesque et la violence : un jeu physique et sensuel, c'est bien le moins pour le plus érotique des opéras du répertoire.
Ce Néron hagard, incapable de maîtriser ses pulsions, cette Poppée femme fatale qui le tient sous sa dépendance sexuelle et mène les autres par le bout du nez, ces femmes au bord de la crise de nerfs qui cassent leur talon, on ne les oubliera pas. Alden en fait des figures shakespeariennes, n'hésitant pas à outrer ce mélange des genres qui rend Monteverdi si audacieux. Mais Alden reste attentif au point d'équilibre entre grotesque et gravité, entre onirisme et réalisme. Le personnage de Sénèque retrouve ainsi le juste dosage entre véritable compassion et raillerie d'un philosophe alcoolique et sentencieux, dont les disciples serviles notent chaque phrase avec une frénésie ridicule. Bien des images nous resteront, non pour leur seule beauté plastique, mais pour leur expressivité : quand le décor s'évacue pour laisser Poppée s'endormir sur fond vert (magnifiques lumières de Pat Collins), quand Octavie fait ses adieux nus pieds en robe noire, quand l'horloge de Chronos vient surveiller les amants réunis, le temps suspend son vol.
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