Recently in Performances
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.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
Having been privileged already to see in little over two months two great productions of Die Meistersinger, one in Paris (Stefan Herheim) and one in Munich (David Bösch), I was unable to resist the prospect of a third staging, at Glyndebourne.
‘Mack does bad things.’ The tabloid headline that convinces Rory
Kinnear’s surly, sharp-suited Macheath that it might be time to take a
short holiday epitomizes the cold, understated menace of Rufus Norris’s
production of Simon Stephens’ new adaptation of The Threepenny
Opera at the Olivier Theatre.
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