Recently in Performances
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
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.