Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.