Recently in Performances
All told, this was probably the best Don Giovanni I have seen and heard. Judging opera performances - perhaps we should not be ‘judging’ at all, but let us leave that on one side - is a difficult task: there are so many variables, at least as many as in a play and a concert combined, but then there is the issue of that ‘combination’ too.
Can one justly “review” a streamed performance? Probably not.
But however different or diminished such a performance, one can—and
must—bear witness to such an event when it represents a landmark in the
evolution of an art form.
For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
29 Apr 2005
Suor Angelica and Pagliacci at Liège
Not the usual twins but a rather original though no less appealing combination. Both operas were cast from strength and far bigger houses would have been proud of it. Hasmik Papian with her splendid spinto voice was a moving if less than usually placid Angelica. She once more became a princess during the confrontation with her aunt. She poured out wonderful tone during her aria ending it however with the soft ravishing high A the score demands. I know Puccini cut it himself though after some protest but one of these days I’d love to hear Angelica’s second big aria after the intermezzo though it was not to be this time. A lot of interest centred upon Fiorenza Cossotto who at the day of the première celebrated her 70th birthday. Well, you cannot erase 50 years of stage experience and she brought to Zia Principessa all the necessary haughtiness and at one small moment even seemed to relent ( nice touch) but then regained her composure. And the voice? In the low register there are still some sounds reminding me of the impetuous Amneris I first saw in 1969. But higher on there is nothing that resembles that bright silvery sound of yore. Decibels there are and a wobble as well. Still, she was not a travesty as was Rita Gorr a few years back in Antwerp who grunted the role. All other roles were sung convincingly.
Hasmik Papian - Suor Angelica et Fiorenza Cossotto - La Zia Principessa (Photo: Opéra Royal de Wallonie)
Opéra Royal de Wallonie (Liège)
Suor Angelica: Hasmik Papian (Angelica), Fiorenza Cossotto (Zia Principessa), Laura Balidemaj (Badessa), Christine Solhosse (Zelatrice), Cécile Galois (Maestra delle Novizie), Nicole Fournié (Genovieffa), Chantal Glaude (Osmina), Christine Remacle (Dolcina), Magali Mayenne (Infirmiera)
Pagliacci: Vladimir Galouzine (Canio), Alketa Cela (Nedda), Seng Hyoun Ko (Tonio), George Petean (Silvio), Florian Laconi (Beppe)
Orchestre, Choeurs de l'Opéra de Wallonie
Conductor: Giuliano Carella
Not the usual twins but a rather original though no less appealing combination. Both operas were cast from strength and far bigger houses would have been proud of it. Hasmik Papian with her splendid spinto voice was a moving if less than usually placid Angelica. She once more became a princess during the confrontation with her aunt. She poured out wonderful tone during her aria ending it however with the soft ravishing high A the score demands. I know Puccini cut it himself though after some protest but one of these days I'd love to hear Angelica's second big aria after the intermezzo though it was not to be this time. A lot of interest centred upon Fiorenza Cossotto who at the day of the première celebrated her 70th birthday. Well, you cannot erase 50 years of stage experience and she brought to Zia Principessa all the necessary haughtiness and at one small moment even seemed to relent (nice touch) but then regained her composure. And the voice? In the low register there are still some sounds reminding me of the impetuous Amneris I first saw in 1969. But higher on there is nothing that resembles that bright silvery sound of yore. Decibels there are and a wobble as well. Still, she was not a travesty as was Rita Gorr a few years back in Antwerp who grunted the role. All other roles were sung convincingly.
Director Claire Servais had some good ideas. She put everything behind bars (a reality in this kind of cloister) and showed us the nuns' cells stapled upon each other. The big confrontation scene with Angelica behind and Zia Principessa before bars worked extremely well, made even more poignant by the brief appearance outside the cloister of Angelica's living son and the Principessa's hesitation before making up the story of his death At the end of the opera Servais however mixed up Angelica and Cio Cio San. A nun with Angelica's knowledge of poisonous plants wouldn't think of committing suicide with a blunt knife. Servais succeeded in avoiding the sentimentality of the original ending by a simple device: Angelica may think she sees the Madonna and gets her pardon but for the spectator there is only the loneliness of a painful death to watch.
General Manager Jean-Louis Grinda himself directed Pagliacci. I cannot say I liked the idea of turning every villager into a clown until the end of the opera when everybody takes off his or her mask. We've seen those clowns in the Antwerp Hänsel und Gretel and last year's Tannhäuser at De Munt used exactly the same device. On the other hand I liked his concept very much in that Canio enters and propagates the evening's entertainment in his clown's outfit while gradually returning to his normal clothes in which he sings "No, Pagliacco non son". Vladimir Galouzine succeeded into raising the house to a white hot temperature. Some thirteen years ago he made his début here with a clear ringing Renato des Grieux (with the late Yoko Watanabe). The voice has changed into a burnished brown sound with an enormous amount of volume. Sometimes he loses focus and there is no ring any more on the highest notes. He even breathed between "Ridi" and "Pagliacco" in "Vesti la giubba". But he doesn't try sobbing or improving on the score with "infamia, infamia" like Gigli used to do. The torrent of sound, the honesty of acting is simply overwhelming so that one forgets the less pristine sounds. This is probably his best role for the moment, better suited to the voice than Kalaf or Otello.
Another big voiced singer is baritone Seng Hyoun Ko. With Galouzine one forgets his somewhat special histrionics while with Ko one is too much reminded of his chopping up the line, of making noise for noise's effect. He can sing a piano but even then (and much in the tradition of Korean singers) one feels he is just imitating some other singer's records. I would wager quite a lot on Ko studying his role with Gobbi's CD's near him. Still there is no denying the force of nature his voice is. I admit that up to now I didn't know the name of Alketa Cela (though she has sung in Brussels) and so I was in for quite a surprise. The soprano has a big lirico, slightly but sexy husky in the middle voice, very agreeably coloured in the best Mediterranean way. Only at the top she now and then flattens the sound too much. The lady is a beauty too and knows how to impress on a scene. A real find and I hope she will soon be back in the country. Young Romanian baritone George Petean will go far too. He has some decibels less than Ko but the voice is smooth, well rounded and with a brilliant top and he outclasses the Korean in style and musicality. I'd like to hear him in one of his Verdi roles. Our luck still held as Florian Laconi was a Beppe of one's dreams and it was immediately clear that he won't sing long as a comprimario. Indeed he has already sung Faust.
Giuliano Carella is somewhat better known for his many recordings of belcanto operas but he proved himself to be a formidable veristo too, whipping up his orchestra into passion without drowning his singers (difficult of course with Galouzin and Papian). A great evening.