Recently in Performances
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.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
04 Apr 2005
Albert Herring/Eugene Onegin/Genoveva in Boston
I ended last week with three very different operas here in Boston. On Thursday, the Boston Conservatory of Music put on a nicely designed, lovingly directed production of Britten’s Albert Herring. Based loosely on a Guy de Maupassant short story Albert sends up English small town blue stockings who stage an annual May Queen pageant, finding themselves unable to find a young woman of acceptable virtue in the immediate area. Their choice falls on a May King in the person of Mamma’s boy Albert Herring who is mortified by the whole experience. Albert proceeds to use the cash part of his prize to go off on a toot, stay out all night to return home a happier, wiser and far more independent young man, to the chagrin of all.
A View of Boston
A Tale of Three Operas
I ended last week with three very different operas here in Boston. On Thursday, the Boston Conservatory of Music put on a nicely designed, lovingly directed production of Britten's Albert Herring. Based loosely on a Guy de Maupassant short story Albert sends up English small town blue stockings who stage an annual May Queen pageant, finding themselves unable to find a young woman of acceptable virtue in the immediate area. Their choice falls on a May King in the person of Mamma's boy Albert Herring who is mortified by the whole experience. Albert proceeds to use the cash part of his prize to go off on a toot, stay out all night to return home a happier, wiser and far more independent young man, to the chagrin of all.
The sets were inspired by Victorian photographs, the costumes were satisfyingly full of high Victorian frou-frou, Lady Billows even had a most appropriate Victorian figure. David Powell who sang Albert possesses a high, clear, sizeable lyric tenor and admirably clear diction. The orchestra did well by the score under Bruce Hangen's buoyant direction.
On Friday, the second Boston Lyric Opera performance of Eugene Onegin was a study on the depths of romantic passion. Stephen Lord ignited a deeply felt, exciting performance. In the pit, horns and trumpets had a very good night and everyone on stage and in the pit appeared to be "on."
Designer Bruno Schwengl and director James Robinson created a lovely romantic world backed by a stand of tall white birch with furniture and props as required. The look had almost certainly been influenced buy the current MET production (Mme. Larina's party featured an oval of chairs within which the guests gossiped and danced, and very little else, for example) but had much to say on its own. Robinson made a point of linking Tatyana and Lensky as equal victims of Onegin's alienated inability to feel or give in a relationship. She had always with her the romantic novel and he had always his little notebook; during the cotillion when the chorus was focused on the off-stage dancers, only Tatyana and Lensky were left in the oval of chairs, each nursing hurt inflicted by Onegin. A wonderful touch was to have the servant girls hang out a laundry of white bed sheets to dry on the way to picking berries and for Tatyana to hide among them in panic at Onegin's approach. After shooting Lensky dead in the duel, Onegin bowed formally to the two seconds, carefully picked up and brushed off his coat and hat and strode coldly from the scene as if nothing disturbing had happened.
Schwengl's costumes were richly detailed, flattering and sharply distinguished as to class and character. As with the emotions of the principals, white and black predominated, white in acts one and two, funereal black in act three. Not all of the action was "realistic." Some was poetic and indicative of the psychological situation of the characters at any one time. When Tatyana enters in the final scene she comments that she feels again like a young girl waiting in panic for Onegin and breaks the face of a table clock as if time no longer exists.
The cast was a strong one. Maria Kanyova's slender, angular body and features suited a still gawky teenager perfectly. Her wide-ranging voice, secure top and slightly Slavic sound sounded fin in the music and she tore into the phrases with passion or a lovely delicacy as required. She has remarkable dynamic control. Garrett Sorenson's Lensky was probably the favorite of the audience. The upper middle and top of his voice have a brilliant spin and freedom that create a satisfying buzz in the ears and he phrases beautifully. The lower middle and bottom are not yet fully developed and need work, but his potential would seem to be enormous as there is no sense that the voice has been overused or abused in any way, and the basic sound is very beautiful. Completing the main trio, Mel Ulrich has the vocal color and affect for the anti-hero. A bit more power in the biggest moments would be welcome but he didn't force or distort the line at any time and the voice is all of a piece from top to bottom.
Dorothy Byrne and Josepha Gayer worked well together as Larina and Filipyevna. Both have strong lower ranges and their opening scene registered sistinctly against the off-stage duet of the two girls, something that does not always happen. John Cheek's Gremin had warmth and dignity but his voice has dried significantly and a persistent unsteadiness undermined the first part of the aria that is essentially his whole part. Because the lowest notes are still solid and full, he concluded successfully. Elizabeth Batton's vibrant mezzo and volatile personality worked well for Olga. Frank Kelley either decided to sing Triquet with a clinical depiction of a very old man's voice or is losing breath and solidity of tone. Either way, legato suffered and there were many intrusive breaths in the middle of lines.
On Saturday night a real novelty--Robert Schumann's Genoveva, produced in concert by Emmanuel Music in an effort to show that the opera is viable musically and dramatically and deserves revival. A similar effort for Schubert's Alfonso und Estrella a couple of years ago only pointed up the static nature of that pretty but unexciting work, but Genoveva is something else again. Schumann unquestionably knew how to shape a scene and, at the same time that Wagner premiered Tannhauser in Dresden, was experimenting with monologs that developed from or segued into scenes, rather than producing a string of closed form arias. The prelude to the final act prefigures the feeling if not the harmonies or chromaticism of the third act of Tristan.
In structure, Genoveva seems to have looked to existing works for some guidelines. Once the gender of the rescuer and the rescued is reversed, act four is structured exactly like the second act of Fidelio. Genoveva is led to a desolate place to be secretly executed by two minions of the villianous Golo; a hunting horn fanfare alerts them to the arrival of her husband, who frees her; the set then changes to the first scene of the opera where a local official (baritone) and a jubilant chorus greet the couple and praise their heroic qualities.
James Maddelena's baritone has become darker and more powerful over his long career and sounded wonderful as Count Siegfried. As his wife Genoveva, Sara Pelletier created a most attractive character with her shimmering lyric soprano and lyrical phrasing. Frederick Urrey handled Golo's high tenor lines with ease after a bit of a warm-up period and Krista River made the most of the sorceress Margaretha in whom the program notes see a prefiguration of Klingsor. The role would probably benefit from a more dramatic voice than Ms River's smoothly lyric one but in a moderately-sized venue she was able to score all the necessary points. David Kravits gave strong support in tow roles. Veteran conductor Craig Smith got warmth and passion out of his cast, chorus and orchestra. The audience's reaction to the opera built steadily all evening, ending in genuine enthusiasm. Genoveva is viable indeed.