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Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
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.