Recently in Performances
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
08 Feb 2005
Glass's Akhnaten in Boston
The Boston Conservatory of Music gave two performances, each with a different cast, of Philip Glass’s Akhnaten last week five years to the day after the work’s Boston premiere by the Boston Lyric Opera in February 2000. Aside from the pleasure of being able to hear a big contemporary work again so soon, the two productions were so radically different from one another that a whole new perspective on Glass’s work could be had.
The Boston Conservatory of Music gave two performances, each with a different cast, of Philip Glass's Akhnaten last week five years to the day after the work's Boston premiere by the Boston Lyric Opera in February 2000. Aside from the pleasure of being able to hear a big contemporary work again so soon, the two productions were so radically different from one another that a whole new perspective on Glass's work could be had.
Boston Conservatory (as differentiated from the New England Conservatory of Music--although the two do share some resources in NEC's opera productions) has specific theater and dance specialties. The opera department has recently been reorganized and is now under the directorship of the distinguished American baritone Sanford Sylvan, who also directed this production. The opera was presented in the Conservatory's problematic theater which is more of an auditorium with virtually no off-stage space, cramped seating and, at least on this occasion, totally inadequate ventilation. Nevertheless, both performances were sold out with waiting lists and a wholly mixed crowd, particularly as to age, reacted to the work and its highly effective performance with high enthusiasm.
Sylvan presented this highly ritualistic work as part oratorio, with the chorus standing on risers at the rear with their scores, a decision that did two things — emphasize the static nature of Egyptian religious practice and, I suspect, solve the problem of short rehearsal time. The priesthood, a major antagonistic force in Akhnaten, was treated in a manner Verdi would very much have approved — an implacable, vengeful and controlling obstacle to any deviation from the established norm. Akhnaten and his family life, by contrast, were depicted in a realistic style with great informality, much touching, affection and fun in game playing in the face of crushing hierarchical convention. The climactic scene in which the family is slaughtered by the priests became shocking in its inhuman violence and blatant prejudice.
Beatrice Jona Affron, who has conducted for Boston Lyric opera and been a cover conductor for the Boston Symphony, led the orchestra in an assured, richly colored performance of Glass's minimalist score. The young cast all performed well with an especially striking vocal performance by Matthew Truss a young African-American countertenor with a brilliant top voice. (Interestingly, the BLO performance lost its noted countertenor lead during rehearsals and a student countertenor from the New England Conservatory learned the role quickly and performed with great assurance--something very right is going on in our music schools here in Boston). Despite the heat and lack of leg room in the theater, the packed house gave the performers a huge reception at the end of an excellent performance.
I will make one final, possibly controversial, observation: The epidemic of obesity we are being warned of among our young people by health authorities was in full view on stage, among singers in their late teens to mid 20s. My standard is not the unhealthily dieted super model look, but at least six of the leading performers, both male and female, were between 40 and perhaps 130 pounds overweight, causing some of them real difficulty in executing simple stage movement. The problem was exacerbated by the costume designer's inability to fit individual singers (the opera had a different cast for each performance) as flatteringly as he might have liked.
Technical Coordinator for Theater Arts
Massachusetts Institute of Technology