Recently in Performances
One of the initiatives for the community at the Lucerne Festival is the
‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber
music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
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.
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