Recently in Performances
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.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
Having been privileged already to see in little over two months two great productions of Die Meistersinger, one in Paris (Stefan Herheim) and one in Munich (David Bösch), I was unable to resist the prospect of a third staging, at Glyndebourne.
‘Mack does bad things.’ The tabloid headline that convinces Rory
Kinnear’s surly, sharp-suited Macheath that it might be time to take a
short holiday epitomizes the cold, understated menace of Rufus Norris’s
production of Simon Stephens’ new adaptation of The Threepenny
Opera at the Olivier Theatre.
05 Feb 2005
Star Cross'd Lovers In LA
Stale marzipan it may be, but given the appropriate set of protagonists, Charles Gounod’s ponderous 1867 adaptation of Shakespeare’s youthful tragedy still has the power to arouse the senses and engage, if not engulf, the soul. In Rolando Villazón and Anna Netrebko, the Los Angeles Opera has found doomed lovers who are as much star material as “star cross’d”. Whatever else is lacking in the first west coast production of the opera here in 18 years, the Mexican tenor and Russian soprano radiate youthful ardour, stylistic sophistication and sheer theatrical magic.
|Anna Netrebko||Rolando Villazón|
| ||Photo: © Mark Kessel 2004|
Roméo et Juliette, Music Center, Los Angeles
By Allan Ulrich [Financial Times]
Published: February 2 2005 02:00 | Last updated: February 2 2005 02:00
Stale marzipan it may be, but given the appropriate set of protagonists, Charles Gounod's ponderous 1867 adaptation of Shakespeare's youthful tragedy still has the power to arouse the senses and engage, if not engulf, the soul. In Rolando Villazón and Anna Netrebko, the Los Angeles Opera has found doomed lovers who are as much star material as "star cross'd". Whatever else is lacking in the first west coast production of the opera here in 18 years, the Mexican tenor and Russian soprano radiate youthful ardour, stylistic sophistication and sheer theatrical magic.
Click here for remainder of review (subscription to Financial Times online required).
Verona in Waltz Time
by ALAN RICH [LA Weekly February 4 - 10, 2005]
MUD AND SUGAR
If there must be Gounod -- a point I will argue -- let it be thus. The mud and sugar of his Roméo et Juliette do not entirely disappear behind the splendor of the L.A. Opera's performance, but that night at the opera is, indeed, a dream happenstance. If you come away more oppressed by humidity than by heat, the fault resides in the opera's original formulators, not in the team currently at work at the Music Center. They have done their work well. Anna Netrebko sings the Juliet, and what comes out -- most of all in her Waltz number, which is the only tune anyone remembers from this very long opera -- is the stuff of moonbeams. Rolando Villazón, the Romeo, is a dreamboat who sings like an angel while climbing ladders onto balconies and into hearts. There's a scene in bed, with paired bare abs and pecs all agleam in dawn's early light; yum. Marc Barrard sings of Queen Mab, trippingly and with high delight; Suzanna Guzman is a delightfully crusty Nurse in the few lines the creators have left her; Anna-Maria Panzarella steals a small scene in the song for Stephano (Balthasar in Shakespeare).
Click here for remainder of article.
The Players Let Loose
Electrifying 'Roméo et Juliette' Lights Up the Stage
by Marc Porter Zasada [LA Downtown News Online]
An opera fan lives for those few thrilling moments: a rising tenor finds his full voice, a soprano proves passionate and unafraid, a duet soars off the stage. All that and more occurred on opening night of Roeo et Juliette last week, when Los Angeles Opera offered an electrifying new production of Charles Gounod's very French version of the English bard's story set in Italy.
Click here for remainder of review.