Recently in Performances
Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
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.