Recently in Performances
Die Meistersinger at the theatre in which it was premiered, on
Wagner’s birthday: an inviting prospect by any standards, still more so
given the director, conductor, and cast, still more so given the opportunity to
see three different productions within little more than a couple of
Opera houses’ neglect of Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life. From the House of the Dead might do likewise for someone of a rather different disposition, sceptical of opera’s claims and conventions.
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
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.