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‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.
A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walküre.
If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.
Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
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.
08 Apr 2005
Ambrose Thomas’s Mignon at OONY
Mignon at OONY turned out to be a mixed experience last night. Eve Queler is controversial as a conductor and last night’s opera did not play to her strengths or do anything to conceal her deficiencies. The overture began in a plodding fashion and only came intermittently alive in the conclusion based on the coloratura showpiece for Philene. Throughout, Mignon has some really lovely arias and ensembles but a lot of note spinning as well and not just during the recitatives (the opera was presented in Thomas’s second of three scores, the one in which he suppressed most — not quite all — of the spoken dialog and wrote his own recits). Ms Queler provided almost nothing to enliven, vary or give grace and charm to these conventional passages.
Stephanie Blythe (Photo: J Henry Fair)
Mignon at OONY turned out to be a mixed experience last night. Eve Queler is controversial as a conductor and last night's opera did not play to her strengths or do anything to conceal her deficiencies. The overture began in a plodding fashion and only came intermittently alive in the conclusion based on the coloratura showpiece for Philene. Throughout, Mignon has some really lovely arias and ensembles but a lot of note spinning as well and not just during the recitatives (the opera was presented in Thomas's second of three scores, the one in which he suppressed most — not quite all — of the spoken dialog and wrote his own recits). Ms Queler provided almost nothing to enliven, vary or give grace and charm to these conventional passages.
Mignon needs a major infusion of French singing style in order to blossom. This was intermittently available last night. Firstly, there was a huge divide in vocal quality and/or size. Ms Blythe and Mr Relyea have extremely large voices — the rest of the cast considerably smaller. In trios, ensembles and numbers sung against the overly large chorus, a lot of solo lines were not audible versus others that soared out easily. Ms Blythe is a wonder and was in fine form. She can control her dynamics, has great legato and unquestionable star power. The lower quarter of her voice has become the most formidable mezzo chest I have heard since Horne in her prime and there lies my one complaint. This Mignon sounded as if she could have easily dispensed with the Gypsy leader and Philene with one stroke of the back of her hand. There was little vulnerability or charm about her Mignon. But vocal health and beauty for days, oh my! Mr. Relyea also scored on vocal plushness and legato — in fact these two roles depend on those qualities as others in the cast get the ear-catching numbers. There wasn't the great rolling bass-of-the-old-school authority about his Lothario but, again, lots of vocal health and ease in the music.
Announced as singing with a cold, Massimo Giordano nevertheless showed off a very good tenor voice, all of a piece from bottom to a secure, freely spinning top as Wilhelm Meister. Eglise Gutierrez must still be showing the effects of her cold. She was in and out of phase all night, sometimes quite absent in the middle and lower registers, sometimes singing securely and interestingly. The climax of "Je suis Titiana!" collapsed into a pitchless yell and scrambled conclusion, after which she seemed unable to open the door to leave the stage and decided to sit in chairs vacated by percussionists. Unfortunately, she elected to slump into a most inappropriate posture for a concert stage. In her vibrant red dress, strange posture (and while flipping pages of her score back and forth) she created an unfortunate distraction as Blythe, Relyea and Giordano were trying to bring the opera to its conclusion. Much of this may be due to inexperience. Her career is only eighteen months old. She showed a lot of vocal promise and we'll have to hope she's at her best next year as Lakme.
Kate Aldrich wowed everyone with Frederic's lilting song, and clear-voiced lyric tenor William Ferguson again impressed in the role of Laerte — what a fine Prunier in La Rondine he will be if and when he takes on the role. Backed up against the stage wall, the massive chorus sometimes overpowered the soloists and could have afforded to be a good deal more modest in size, although they did sing with admirable tone and vigo (perhaps Ms Queler could job some of them out to patch things up in the Metropolitan's chorus).
Only about 75 to 80 percent of a house — rare for the usually sold out or close to sold out OONY performances — was in attendance. On the whole, a very good if not extraordinary evening of a lovely, tuneful piece. Next year: Guglielmo Tell (with Marcello Giordani), Lakme, and L'Amore dei tre re with Fabiano Bravo and Samuel Ramey.