Recently in Performances
After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
second city of Novi Sad on 27th October would be transplanted from
6th century BC Babylon to post-Saddam Hussein Tikrit or some
bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.
Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
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.