Recently in Performances
Dulce Rosa, a brand new opera, had its world premiere Friday night, May 17, 2013 at the Broad Stage in Santa Monica, California. It was produced by Los Angeles Opera, but staged in the smaller theater.
Richard Jones’ 2009 production of Verdi’s Falstaff translates the action from the first Elizabethan age to the start of the second.
Baritone Gareth John is rapidly accumulating a war-chest of honours. Winner of the 2013 Kathleen Ferrier Award, he recently won the Royal Academy of Music Patrons’ Award and was presented the Silver Medal by the Worshipful Company of Musicians.
This second revival of Jonathan Miller’s La bohème was the first time I had caught the production.
It’s Verdi’s bicentenary year and Rolando Villazón has two new CDs to plug — titled somewhat confusingly, ‘Villazón: Verdi’ and ‘Villazón’s Verdi’, the latter a ‘personal selection’ of favourite numbers performed by stars of the past and present.
Nicola Luisotti and the San Francisco Opera Orchestra climbed out of the War Memorial pit, braved the wind whipped bay and held spellbound an audience at Cal Performances’ Zellerbach Auditorium at UC Berkeley.
Utterly mad but absolutely right — Richard Strauss’s Ariadne auf Naxos started the Glyndebourne 2013 season with an explosion. Strauss could hardly have made his intentions more clear. Ariadne auf Naxos is not “about” Greek myth so much as a satire on art and the way art is made.
“Man is an abyss. It makes one dizzy to look into it.” So utters Georg Büchner’s Woyzeck, repeating what was also a recurring motif in the playwright’s own letters.
National Opera Company of the Rhine has marked this year’s Benjamin Britten celebration with a remarkably compelling, often gripping new production of the seldom-seen Owen Wingrave.
Once upon a time, Frankfurt Opera had the baddest ass reputation in Germany as “the” cutting edge producer of must-see opera.
Productions of Giuseppe Verdi’s Rigoletto can serve as a vehicle for individual singers to make a strong impression and become afterward associated with specific roles in the opera.
Just in case we were not aware that the evening’s programme was ‘themed’, the Britten Sinfonia designed a visual accompaniment to their musical exploration of night, sleep and dreams.
Poor Aida! She never seems to have anything go her way.
Is it possible to upstage Jonas Kaufmann? Kaufmann was brilliant in this Verdi Don Carlo at the Royal Opera House, London, but the rest of the cast was so good that he was but first among equals. Don Carlo is a vehicle for stars, but this time the stars were everyone on stage and in the pit. Even the solo arias, glorious as they are, grow organically out of perfect ensemble. This was a performance that brought out the true beauty of Verdi's music.
The big names were absent: Duparc, D’Indy, Debussy, Ravel
and while Fauré, Chausson, Roussel and several members of Les Six put in an appearance, in less than familiar guises, this survey of French song of the early 20th century and interwar years deliberately took us on a journey through infrequently travelled terrain.
Composed between 1718 and 1720, Handel’s Esther is sometimes described as the ‘first English Oratorio’, but is in fact a hybrid form, mixing elements of oratorio, masque, pastoral and opera.
Hector Berlioz's légende dramatique, La Damnation de Faust, exists somewhere between cantata and opera. Berlioz's flexible attitude to dramatic form made the piece unworkable on the stages of early 19th century Paris and his music is so vivid that you wonder whether the piece needs staging at all.
St. John’s Smith Square was the site of Elizabeth Connell’s final London concert, intended as a farewell to London on her moving to Australia. It was rendered ultimately final by her unexpected death.
With the building of the Suez Canal, Egypt became more interesting to Western Europeans. Khedive Ismail Pasha wanted a hymn by Verdi for the opening of a new opera house in Cairo, but the composer said he did not write occasional pieces.
Back for its fourth revival, David McVicar’s 2003 production of Mozart’s Die Zauberflöte has much charm, beauty and artistry.
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.