Recently in Performances
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
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.