Recently in Performances
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.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
29 Apr 2005
Giovanna d’Arco at Antwerp
The performance started with another prologue than the usual Verdi one. The Minister of Culture had just announced that the Vlaamse Opera would lose its orchestra so that it could be cut into two to complete the two Flemish Symphonic Orchestras which have some empty chairs. As a token of protest the Opera Orchestra decided to play in their daily outfit, not wanting to deprive their clients (and future supporters) of a performance and not repeating the odious Italian way of striking. Their action resulted in a wave of sympathy. At the end of the performance, frail 81 year old Silvio Varviso spoke briefly but forcefully and asked for the spectators’ support. He is completely right as the Opera Orchestra has grown enormously these last 15 years and can easily compete (and sometimes surpasses) Pappano’s former phalanx: De Munt Orchestra. This was only the last stage in a series of happenings that illustrate the difficulties in performing a less known opera.
Vlaamse Opera Antwerpen: Giovanna d'Arco.
Concert performance on April the 16th 2005.
Guylaine Girard (Giovanna), Stefano Secco (Carlo), Bruno Caproni (Giacomo), Kurt Gysen (Talbot), Eric Raes (Delil)
Symfonisch orkest van de Vlaamse Opera en Koor van de Vlaamse Opera
Conducted by Silvio Varviso
The performance started with another prologue than the usual Verdi one. The Minister of Culture had just announced that the Vlaamse Opera would lose its orchestra so that it could be cut into two to complete the two Flemish Symphonic Orchestras which have some empty chairs. As a token of protest the Opera Orchestra decided to play in their daily outfit, not wanting to deprive their clients (and future supporters) of a performance and not repeating the odious Italian way of striking. Their action resulted in a wave of sympathy. At the end of the performance, frail 81-year old Silvio Varviso spoke briefly but forcefully and asked for the spectators' support. He is completely right as the Opera Orchestra has grown enormously these last 15 years and can easily compete (and sometimes surpass) Pappano's former phalanx: De Munt Orchestra. This was only the last stage in a series of happenings that illustrate the difficulties in performing a less known opera.
Originally, soprano Micaela Carosi had accepted the assignment but she gave it back after studying the score: too much coloratura for her taste. No problem for Michele Crider, a stalwart of Antwerp concert performances. The lady, however, got pregnant and would have her baby at the moment of the performances. Enter Nelly Miriciou who would surely please a lot of her fans. Then disaster struck in Amsterdam when Miriciou lost her voice completely and only came back with less than half a voice for the last performances. She (or her voice) was so shaken she cancelled too. Antwerp was lucky enough to find Marina Mescheriakova to sing all performances except the last one when she was to be Cio Cio San in London. Covent Garden absolutely refused to release her and for a month a frantic research went on to find a replacement, knowing the role and willing to sing one single performance. And at last Guylaine Girard, a soprano from Quebec, was found.
The lady has a clear, nice, though not large sound. Her main asset is her profound musicality and her brilliant technique. She knows how to shape a phrase, uses a lot of well supported pianissimi, knows how to sing messa di voce and people who heard Mescheriakova as well told me the Russian soprano with double the voice made less of an impression. Almost the same can be said of tenor Stefano Secco. He too is not over endowed with a striking big voice though the colour is distinctly Italian and he too succeeds with purely musical means. Irish baritone Bruno Caproni, who has the decibels, was not at his best. He sang rather blandly at first, improved in the second part of the opera and then once again lapsed into routine. Veteran conductor Silvio Varviso who is uncommonly popular at the Antwerp Opera, which he has almost made his artistic house, once more was at his best. Without big gestures, he gave rhythm and drive when necessary while restraining himself and the orchestra in solo moments of a soprano whom he probably had met only a few hours before. It speaks of craftsmanship when one still can give the impression of a thoroughly rehearsed performance. And indeed, it would be a crime to kill this opera orchestra or to merge the chorus with another one. Few if any small provincial opera houses can boast of such quality.