Recently in Performances
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
22 May 2005
I Masnadieri at Liège, 21 May 2005
I never “got” I Masnadieri; not even in the wonderful Bergonzi-Caballé recording I bought the moment it appeared in 1975. I had a feeling that for once Verdi had lost his unbelievable magic as a tune-smith. Corsaro, Giorno di Regno, Battaglia, Alzira etc. all sounded familiar after a few playings but Masnadieri never got under my skin with the exception of the rousing tenor cabaletta and the soprano’s aria. I was in good company as even Budden in his well-known analysis of the opera speaks of “a seemingly backward step.” Well, the good news is that Verdi of course knew it better and that the opera really works in a professional production with acceptable singers.
Amarilli Nizza (Amalia) and Misha Didyk (Carlo Moor) (Photo: Opéra Royal de Wallonie)
I never "got" I Masnadieri; not even in the wonderful Bergonzi-Caballé recording I bought the moment it appeared in 1975. I had a feeling that for once Verdi had lost his unbelievable magic as a tune-smith. Corsaro, Giorno di Regno, Battaglia, Alzira etc. all sounded familiar after a few playings but Masnadieri never got under my skin with the exception of the rousing tenor cabaletta and the soprano's aria. I was in good company as even Budden in his well-known analysis of the opera speaks of "a seemingly backward step." Well, the good news is that Verdi of course knew it better and that the opera really works in a professional production with acceptable singers.
Not that the Liège production (originating in Lübeck) by the Swiss director Dieter Kaegi with sets and costumes by Stefanie Pasterkamp was stunningly revealing. You cannot pin a definite time-frame on it though it definitely looks post World War II. The first scene in the first act has Carlo singing in a magnificent library instead of the outside of a tavern on the frontier and the masnadieri literally push their way in through the library walls destroying a lot of books while their destroyed pages will stay on the scene till the end of the opera; probably a symbol for tenor Carlo's lost academic career.
From the second scene on we are in the castle of the Moor family where we'll stay for the remaining three acts as well though the castle becomes more and more of a waste. So there is no forest and one wonders why Amalia on her flight for Carlo's utterly bad baritone brother Francesco is running around in the same place where the bad guy tried to have his way with her.
Another "modern" touch was having father Massimiliano pushed around by Amalia in a wheelchair on a platform above two forbidding stairs. Now it's not a bad idea to have poor old and sick Massimiliano creep down those stairs but there was some tittering in the house the moment the soprano started her aria while at the same time trying to push the wheelchair (luckily without the bass in it) downstairs.
A better idea was the end of the opera. After Carlo has killed Amalia (which is in the libretto) his bunch of bandits kill him (not in the libretto) to punish him for his back-pedalling on his oath or because they cannot enjoy the girl. Anyway it made for strong theatre. All in all, the production was not outrageous or didn't make the singers life miserable but neither did it much to help us forget the libretto's weaknesses.
The musical side was very strong with one exception. Honour should go to Jean-Pierre Haeck and his orchestra. He clearly believed in the score and didn't rush the cabaletti to get over with them as quickly as possible. He supported his singers very well and allowed them the acuti Verdi didn't write or the cadenza's the composer left to the imagination of the singers (as a practical guy he knew that creator Jenny Lind would improvise her own anyway, so why lose energy on writing them). Haeck succeeded very well in mounting the tension of the opera and by the third and fourth act the whole house was in thrall of a musical drama which they would probably find ridiculous if they read it beforehand. Haeck integrated the rum-ti-tum chorus passages well, making these waltzes even threatening.
The best singing of the evening came from bass Enzo Capuano. This veteran is always a joy to watch and to hear. His voice is not overly big or distinguished though there is a certain nobility in the timbre but he is clearly steeped in the great Verdian tradition, knows how to emphasize a phrase and has the legato necessary for those long rolling utterances.
Less Verdian was Ukrainian tenor Misha Didyk. Mezza-voce and piano are not his strongest features and he has a lisp in the best Corelli-tradition. But the voice is a real tenor, with a lot of metal, ring and squillo in it and he made some exciting sounds in the cabaletta "Nell'argile" while in the last act he rose to the tragic situation. The voice is almost a copy of the sound of youthful Galouzin before that darkened so heavily.
Amarilli Nizza has some fine qualities. She is beautiful and slender and has a real Italian rich voice, especially in the upper middle register. Above the staff however the voice at times (which she seemingly cannot always control herself) often becomes either thin or somewhat shrill.
The musical fly in the ointment was baritone Marcel Vanaud. Of course it is the duty of the Walloon opera to give chances to Walloon singers but Vanaud has been singing here for 30 years and it was never a thing of beauty. The voice is big, still can sail to a G but is unacceptably throaty and has some really ugly patches. Francesco may be a villain but that doesn't mean that pure noise without any smoothness or a hint of legato will do. So I think it's more than time for Mr. Vanaud to retire (and next season he is back as father Miller, a role which really asks for belcanto singing) and leave his place to younger and far better Walloon Verdi baritones as Lionel Lhote who is this season's favourite baritone in the Flemish opera.