Recently in Performances
Die Meistersinger at the theatre in which it was premiered, on
Wagner’s birthday: an inviting prospect by any standards, still more so
given the director, conductor, and cast, still more so given the opportunity to
see three different productions within little more than a couple of
Opera houses’ neglect of Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life. From the House of the Dead might do likewise for someone of a rather different disposition, sceptical of opera’s claims and conventions.
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
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