Recently in Performances
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
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