Recently in Performances
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
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.