Recently in Performances
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.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
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.