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Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
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.