Recently in Performances
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
Beat Furrer's FAMA came to London at last, with the London Sinfonietta. The piece was hailed as "a miracle" at its premiere at Donaueschingen in 2005 by Die Zeit: State of the Art New Music, recognized by mainstream media, which proves that there is a market for contemporary music lies with lively audiences
Franz Schreker Die Gezeichneten from the Opéra de Lyon last year, now on arte.tv and Opera Platform. The translation, "The stigmatized", doesn't convey the impact of the original title, which is closer to"The Cursed".
Semper Dowland, semper dolens (Always Dowland, always doleful) was the title chosen by John Dowland’s for one of his consort pieces and the motto that he took for himself. Twice rejected for the position of musician at the court of Queen Elizabeth, he is reputed to have been a difficult, embittered man. Melancholy songs were the fashion of the day, but Dowland clearly knew dark days of depression first hand.
24 Apr 2005
Mozart's La Finta Giardiniera at Boston University
Last night I saw the second of four performances of Mozart’s La Finta Giardiniera given at the Huntington Theater by the Boston University Opera Institute. Hallmarks of their program are fresh, clear voices brought along in a sane way in appropriate repertory, with stage time given in productions directed, conducted and designed with care. There was a bit of extra drama to this production as Craig Smith, a grand figure in the Boston musical landscape, suffered a heart attack during the final days of rehearsal and David Hoose came to the rescue. The good news is that Smith is doing well. Hoose brought the opera to the stage in fine condition.
Illustration from the title page of a German vocal score to La finta giardiniera, printed around 1829.
Last night I saw the second of four performances of Mozart's La Finta Giardiniera given at the Huntington Theater by the Boston University Opera Institute. Hallmarks of their program are fresh, clear voices brought along in a sane way in appropriate repertory, with stage time given in productions directed, conducted and designed with care. There was a bit of extra drama to this production as Craig Smith, a grand figure in the Boston musical landscape, suffered a heart attack during the final days of rehearsal and David Hoose came to the rescue. The good news is that Smith is doing well. Hoose brought the opera to the stage in fine condition.
I had seen Finta Giardiniera at Glimmerglass almost ten years ago with a cast that reads interestingly now: Giuliana Rambaldi, Sondra Radvanovsky, Marguerite Krull, Karina Gauvin and William Burden. And I didn't get it. The production may well have been at fault, but things that struck me forcefully last night didn't come across at that time. This is very late teenaged Mozart, or he may actually have been twenty at the time of the 1775 premiere. Gluck's librettist for Orfeo provided a text that has at its center the same situation that would explode ninety years later into Tristan und Isolde. A pair of lovers in a tempestuous relationship: he stabs her in a fit of jealousy and flees, believing her dead. She survives and goes out in disguise to find him. She does so as he is on the verge of marrying. Their reunion causes emotional turmoil and other plot complications. The dramatic device here isn't a potion but a night of temporary insanity that ends at dawn with recognition that their love is still there. In a great duet they reconcile. A conventional happy ending with three couples united ends the opera. At this point in Mozart's career, many of the arias are delightful and well composed but conventional in form and the orchestral introductions to some create problems for singers and director by going on at great length with no obvious dramatic function. But some of the numbers — just enough to make the situation achingly real--find the composer trapping into the inner life of the characters in a way that presages the great works to come. The crucial duet of reconciliation, in particular, is deeply human and compassionate — and beautiful music into the bargain
The opera is chock full of previews of things to come, particularly in Cosi Fan Tutte and Don Giovanni. Of principal interest is the entire matter of tone, as LFG mixes seria and buffo characters in a manner that will lead to Leporello interacting with Donnas Elvira and Anna, and Despina calling the shots chez Fiordiligi and Dorabella, albeit a bit more smoothly in both cases. In an uncommonly interesting program note, director Sharon Daniels (who drops a line that will resonate well with many opera lovers: "believing as I do that the composer is the first stage director") discusses second and third thoughts about how to direct and design this opera based on what seemed like conflicting signals from that very composer. At first she found grinding rather than shifting gears, and grand tragic arias that simultaneously poked fun at the over-the-top suffering of the character involved — a device to be found in later Mozart as well. Her eventual solution was to place the action in the Edwardian period, in the artifice of highly colored art nouveau decor and graceful very masculine and very feminine costumes.
Under Hoose's lively presentation of what Smith had prepared, ensemble was strong and the young cast sang strongly, particularly Jessica Tarnish as heroine Sandrina and Darren Anderson as the limpid, bright-voiced tenor hero Count Belfiore. But the cast as a whole deserves mention: petite, accomplished coloratura Stephanie Chigas en travestie as Ramiro, Michael Callas, who understood perfectly that Nardo was to be father to both Leporello and Figaro, Joyce Ting's witty minx of a serpetta, Courtenay Symonds, scoring in both comedy and voice as Arminda, and Oshin Gregorian as the flustered, frustrated Podesta.
Ms. Daniels arrived at a particular series of decisions on the proper mix of low comedy, pathos and high sentiment. That her decisions might or might not have been mine in any particular instance is irrelevant. The production emerged a unified whole. An indication that she had achieved her goal was that intermission conversation centered around plot points and the sincerity of a particular character's emotions at a particular moment in the story.