Recently in Performances
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
19 Feb 2005
Renée Fleming in Boston
Renée Fleming sang the Boston leg of her current recital tour last night at Symphony Hall accompanied by the distinguished German pianist Hartmut Höll. Not only was Ms Fleming in free, shimmering and beautifully controlled voice, but last night’s program of Purcell, Handel, Berg and Schumann was some of her most disciplined work in a very long time.
Renée Fleming sang the Boston leg of her current recital tour last night at Symphony Hall accompanied by the distinguished German pianist Hartmut Höll. Not only was Ms Fleming in free, shimmering and beautifully controlled voice, but last night's program of Purcell, Handel, Berg and Schumann was some of her most disciplined work in a very long time.
I am not a great fan of vocal recitals at Symphony, not only because of the hall's size, but because a recitalist inevitably looks isolated on the huge platform and the Hall's unattractive stage lighting creates neither mood nor intimacy. Jordan Hall is far more suitable except as to capacity for so popular an artist. Fleming, however, possesses a big enough voice and personality to fill Symphony's huge expanses, and enough star power to fill its seats last night. Currently very blond, she passed on her customary Ferré gown in favor of Oscar de la Renta in very pale champagne beige with sequins, adding a fourteen foot long semi-sheer white chiffon stole in the second half for well managed dramatic effect. Audience response was rapturous.
The program began with Purcell's "The Blessed Virgin's Expostulation," a kind of mini-mad scene for Mary and the sort of angular, dramatic and vocally demanding piece recitalists often favor as warm-up material. An extended recitative is followed by two cantilena sections. It's a strange and fascinating piece that didn't pull into focus until Ms Fleming settled down to show her legato phrasing near the end. Thereafter, everything was very much under control. The Purcell selections were "Sweeter than Roses" from Pausanias, "I take no pleasure in the sun's bright beams," "I attempt from love's sickness to fly" from The Indian Queen and "O, let me weep" from The Fairy Queen. The Purcell brought out the first well executed coloratura of the evening and what would also be a theme in the Handel to come — intimate, beautifully sustained laments that held the audience in hushed attention. The swooping portamenti and other liberties that have been controversial in some of Ms Flemings work were left back in the "Expostulation's" recitative — throughout the evening there was a clean line and great attention to dynamic shading.
The Handel began with a fleet, vivacious "Oh! Had I Jubal's lyre" from Joshua, and proceeded through a finely spun "O sleep, why dost thou leave me?" (extended applause) and "To fleeting pleasures make your court" from Samson which was played in character as a seductive, kittenish Dalila. Another lament, "Calm thou my soul/Convey me to some peaceful shore" from Alexander Balus was followed by "Endless pleasure" from Semele, also performed in character as a deliciously self-absorbed coquette.
There was a complete change of mood after intermission. Surrounded by diaphanous chiffon, Fleming let out her opalescent tone generously in Alban Berg's "Sieben frühe Lieder." She preceded the set with a request that the audience please hold applause until after each of the lieder sets. They did so in the gorgeously sung Berg but their discipline broke down a bit toward the end of the Schumann set that consisted of eight songs: Ständchen, Mondnacht, Er ist's!, Hauptmann's Weib, Hochländisches Wiegenlied and Du bist wie eine Blume (both to texts by Robert Burns as translated into German), Aufträge and Stille Tränen. The Schumann was sung simply, directly and with warmth.
There were four encores: a thrilling, full bore performance of Strauss's Cecilia (Fleming said she hates to do a recital without Strauss somewhere in the evening); Puccini's "O mio babbino caro;" a surprisingly restrained version of Ms Fleming's art nouveau arrangement of "Somewhere over the rainbow" that had been purged of about 50% of its usual departures from the vocal line (the crowd loved it); and a lovely, shimmering performance of Maietta's Lied from Korngold's Die Tote Stadt notable for its perfect legato and for the elegance of Hartmut Höll's playing of the extended postlude.
Höll's accompaniment was a revelation. Widely celebrated for his lengthy collaborations with Dietrich Fischer-Dieskau and mezzo Mitsuko Shirai in German Lieder, among many other distinctions, he brought style, elegance and support (rather than competition with the soloist) to the program, scaling his volume perfectly to Ms Fleming's, letting his beautifully colored and shaded tone ring out fully only in the Berg in which she herself let fly in an appropriate late Romantic manner. Theirs was a most rewarding collaboration.
Technical Coordinator for Theater Arts
Massachusetts Institute of Technology