Recently in Performances
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
05 Apr 2005
Fanciulla: The Banality of Reality?
Conventional wisdom has it that Puccini’s operatic tale of the wild West, “La Fanciulla del West,” is too melodramatic to be fully credible – a reason it hasn’t joined his “Tosca,” “La Bohème” and “Turandot” in the top-most echelon of audience favorites. And it’s true that there are lots of things in it that seem silly today (like a bunch of weepy, childlike gold miners singing in Italian) or even offensive, like American Indians whose pidgin vocabulary frequently includes “ugh!”
Nuggets of True Romance, With Weepy Gold Miners Singing in Italian
By ANNE MIDGETTE [NY Time 3 Apr 05]
Conventional wisdom has it that Puccini's operatic tale of the wild West, "La Fanciulla del West," is too melodramatic to be fully credible - a reason it hasn't joined his "Tosca," "La Bohème" and "Turandot" in the top-most echelon of audience favorites. And it's true that there are lots of things in it that seem silly today (like a bunch of weepy, childlike gold miners singing in Italian) or even offensive, like American Indians whose pidgin vocabulary frequently includes "ugh!" . . . .
The real Achilles' heel of "Fanciulla" may not be that it is over the top or dated, but that the romance it depicts is too real, its characters too flawed, and under their patina of local color, even too familiar. Which makes this opera all the more worth seeing and certainly hearing, even if ideally it would get a more sensitive production than this one.
Click here for the complete article.
I think there are a number of things that conspire to make La Fanciulla del West hard for some Americans to embrace, including a real lack of knowledge of our own history.
David Belasco was the great realist of his generation in the theater. He once purchased an actual Child's Restaurant, a chain somewhat akin to the old Howard Johnson's or the current Friendly's, dismantled it and had it reassembled on stage in New York because a Child's was the setting for a particular play. Melodrama was, of course, a recognized and appreciated form in the American Theater of the time. But how over the top Minnie and Co. actually are depends on your reading of "the Old West." Clearly some astonishing and unusual things went on out there. I think the Donner Party's cannibalism or the High Meadow Massacre during which Mormons exterminated an entire wagon train coming west indicate that just about anything could happen.
Ms. Midgette jeers at Minnie's "single kiss before chastely bedding down in separate bunks." During the high Victorian, whether in a city or in the high Sierras, a woman's virginity was a closely guarded thing. But listen to the feverish, sensuous music as Minnie and Johnson cling to each other after the kiss, punctuated by several highly suggestive gunshots from offstage, to get an idea of what's really going on. Our Minnie may not be as coldly chaste as Ms. Midgette thinks, and she certainly isn't by act three--her month consorting with Johnson during the second intermission is clearly driving Rance wild with jealousy.
As to the miners, Midgette says they seem silly today, "a bunch of weepy, childlike gold miners singing in Italian." Well,they sing in Italian because it's an Italian opera. Do we jeer because Carmen and the other Spanish characters sing in French? Or Verdi's ancient Egyptians sing in Italian? The miners who stampeded westward during the gold rush were frequently lacking in education, many were incredibly young boys, and they all found themselves in a place where only a few would ever find gold and make a fortune. In a highly sentimental age, their emotional vulnerability and total lack of sophistication is not only understandable but can actually be very moving if depicted properly in an opera that's all about loss, isolation, loneliness, and broken dreams. I frequently remind people that the educational and cultural level we have today cannot be assumed for people from the past. Not so very long ago, a grammar school diploma--the equivalent of what Minnie is trying to give her boys, was the highest most people could hope to get and many never achieved it.
I'm glad she recognized the "wonderfully rich, dense score," that many of us feel is Puccini's finest. And she is spot on about the reality of the characters — Rance, for example, is no cardboard heavy but a deeply conflicted, emotionally desperate man. Her point about the characters being "too real, too flawed" for a modern audience could be right on the button. At Carnegie Hall a large part of the audience walked out after the first act of Donizetti's Marin Falliero because they had been given a libretto and could see there were no conventional love duets and no climactic mad scene for the soprano — merely a deeply human drama with a serious, not happy ending. The population embraces "reality shows" that are ludicrous for their actual lack of anything real or human. In Fanciulla the characters are in our faces, they hurt us and make us think and yearn and feel loss. That's what art's all about.
La Fanciulla del West in Full Score