Recently in Performances
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
01 Jun 2005
Britten's A Midsummer Night’s Dream at Chicago Opera Theater
In its recent performances of Benjamin Britten’s A Midsummer Night’s Dream Chicago Opera Theater affirms its reputation for carefully gauged and well cast productions. Already from the subdued opening accompanied by muted strings an underlying tension is evident in the darting figure of Puck, a spoken role assumed in this production by the actor Jason Griffin. The movements of all the characters in this production are matched consistently to an orchestral or vocal expression, emphasizing thus the union of choreography with lyrical and declamatory effect. Chicago Opera Theater’s presentation divides the action and emotional entanglements of Britten’s three acts into two parts. Soon after the start of the first of these the royal fairy couple, Oberon and Tytania, enter in formal dress. Their disagreement over a youth taken into the service of the queen, yet desired by Oberon, fuels an initial conflict that — by the time of its resolution — will bear on the fates of the other pairs of young lovers in the piece as well.
Scene from A Midsummer Night's Dream (Photo: Chicago Opera Theater)
Benjamin Britten: A Midsummer Night's Dream.
Libretto by Benjamin Britten and Peter Pears.
Chicago Opera Theater
Conducted by Alexander Platt. Directed by Andrei Serban.
Click here for additional information.
In its recent performances of Benjamin Britten's A Midsummer Night's Dream Chicago Opera Theater affirms its reputation for carefully gauged and well cast productions. Already from the subdued opening accompanied by muted strings an underlying tension is evident in the darting figure of Puck, a spoken role assumed in this production by the actor Jason Griffin. The movements of all the characters in this production are matched consistently to an orchestral or vocal expression, emphasizing thus the union of choreography with lyrical and declamatory effect. Chicago Opera Theater's presentation divides the action and emotional entanglements of Britten's three acts into two parts. Soon after the start of the first of these the royal fairy couple, Oberon and Tytania, enter in formal dress. Their disagreement over a youth taken into the service of the queen, yet desired by Oberon, fuels an initial conflict that — by the time of its resolution — will bear on the fates of the other pairs of young lovers in the piece as well.
In the roles of fairy king and queen Tobias Cole and Danielle de Niese exhibit regal bearing alternating with bemused detachment or boundless passion. Britten's writing for countertenor and coloratura soprano is admirably fulfilled by this pair, each sinking into the dignity or erotic mask of the respective role with convincing vocal and dramatic involvement. Cole shows an especially effortless and graceful approach to the sung and declaimed line of Oberon, while de Niese's skillful vocal approach underscores her unexpected later attachment to the rustic Bottom.
The two pairs of young lovers — Hermia and Lysander, Helena and Demetrius — are sung by Allyson McHardy and Patrick Miller, Laura Whalen and Ian Greenlaw, respectively. In their fine delineation of character in both singing and acting the four lovers negotiate the amorous confusion caused by wrongful application of the herb on the part of Puck. Their youthful exuberance and quarreling parallel the erotic abandon of Tytania after Puck's machinations lead her to awaken and fall enamored of Bottom wearing the head of an ass.
In this production the dreams, thoughts, and emotions of characters are intermittently suggested by film clips projected on the rear part of the stage. The pink, purple, and green colors — as well as "nodding" flowers — suggest the stylized hues of a woodland while directing focus to the emotional tangles played out and righted within their midst. Most of the stage content in Part One of Chicago Opera Theater's presentation, up to the point of confusion of nearly all leading roles, covers the first two acts of Britten's opera. Although there are moments — especially toward the close of this Part One — where Britten's writing for the text lags in inspiration, the forces conducted here by Alexander Platt keep a consistent musical and dramatic fluidity.
The imaginative movements assigned to the fairies of Tytania's and Oberon's realm for this production — riding on scooters, sporting hula-hoops, executing cartwheels — are in keeping with the fanciful spirit of the text. Yet these actions can also detract from the simultaneous performance of the principals, especially when the fairies run out into the audience and shine their flashlights in a cliché maneuver. The buffoonery engaged in by the collected rustics is here both well-timed and humorously acted. Noteworthy among these singers are the Bottom/Pyramus of Kevin Burdette and the Flute/Thisbe of Tracy Wise.
By the close of their play-within-a-play at the court of Theseus in Part Two, the lovers are appropriately re-aligned and disagreements have been settled. Puck's closing promise to "restore amends" recalls his earlier movements in Part One of this production, during which he wove together hanging chains as a symbol of the lovers' entanglements. The twofold musical and dramatic resolution of the play and the play within has a renewed significance as this Puck unites both action and indulgence from Chicago Opera Theater's memorable dream.