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.
15 Jun 2005
Il Barbiere di “Siviglia” in Antwerp
Very attentive readers will have noticed I put “Siviglia” in quotation marks as it refers in this production to the name of an Italian hairdresser’s salon and not to the Spanish city. Director Joosten who always keeps an attentive eye on surtitles and has them changed when the sung lines are contrary to the happenings on the scene nevertheless let a reference to the Spanish Prado slip in.
Scene from Il Barbiere di Siviglia (Photo: Annemie Augustijns)
Il Barbiere di "Siviglia"
|Anja van Engeland||Berta|
|Benoît de Leersnyder||Fiorello|
|2=. Symfonisch Orkest en Koor van de Vlaamse Opera|
|2=. Conducted by Ivan Törzs|
|2=. Directed by Guy Joosten|
|2=. Sets and Costumes by Johannes Leiacker|
|2=. De Vlaamse Opera - Antwerp|
Very attentive readers will have noticed I put "Siviglia" in quotation marks as it refers in this production to the name of an Italian hairdresser's salon and not to the Spanish city. Director Joosten who always keeps an attentive eye on surtitles and has them changed when the sung lines are contrary to the happenings on the scene nevertheless let a reference to the Spanish Prado slip in.
Anyway that was the only reference to a traditional Barbiere as Rossini's opera was fully updated to somewhere in the south of Italy. We are at the same time in a modern hairdresser's salon but one so open that the view of the windows of the apartments above unobstructed. The important thing is that the set worked well and helped to make the necessary comic points.
As is usual with Joosten he changed traditional perceptions of the protagonists. Figaro was not only the "factotum della citta" but a nice charming gay hairdresser who tries to seduce all and any male performer that comes within a distance of a yard (though I clearly remember a very macho Figaro in Joosten's Nozze di Figaro).
Rosina is a leggy young sexy lady not above using her many charms to get her man though that's where Joosten fails for the first time. Every time the lady appears she wears another wonderful often extravagantly coloured thick wig. At first the gimmick gets some tittering but by the sixth or seventh wig the hair is still as thick but the joke is definitely wearing thin. Joosten fails too (or hasn't sought for a solution) with Rosina's "billet doux" tricks. The letter jokes in 'Dunque io son' probably worked in Rossini's days but are stale nowadays. Joosten didn't have the courage of his convictions, let the lady write little notes instead of trying to work something out and let her SMS (Short Message Service) in this 2005 action play.
During the duet Figaro was extremely busy with some client who hid behind a newspaper. When he dropped the paper and left the salon, the audience discovered that one of Flanders' most popular entertainers had put in a cameo performance for a few seconds. The idea got a hearty and deserved laugh but the laugh would have been as big if the man had revealed himself after, instead of right in the middle of, the duet and the musical line wouldn't have been disrupted.
Almaviva corresponded more or less to the image of the Italian lover though Joosten had a small surprise. A pre-recorded "Se il mio nome" with a calypso rhythm and orchestra was played on a CD-machine.
The emphasis in Don Basilio was on 'Don' (as in Don Corleone) and he was changed into a machine gun handling gangster. Movie references are now a fixture of this director. In his Amsterdam treatment of Elisir d'Amore, Bryn Terfel was dressed and behaved as a mixture of Elvis Presley and Liberace. This time Ambrogio's (Bartolo's servant) main task was exactly repeating Gene Kelly's choreography (umbrella included and not in the libretto) around a lantern post (in the libretto) during the storm music. Don Bartolo was the only one behaving more or less in the traditional way, though he too was mainly busy shaving people instead of treating them.
The general impression was one of overdirecting, of too many jokes, of too clever ideas not always consistently worked out. One example: Seemingly drunken, Almaviva is not dressed as an Italian army officer but just as another of the bunch of carabinieri who is always entering and leaving the salon.
Still, the sum of this production is far more than the many small irritations. It is modern, respects the spirit of the work, gives sense and drive to the old warhorse. I hope the Antwerp opera will offer us a reprise in a few years when that great saviour of opera, 'plain routine', will eject a few of the extravagancies. But even now, I admit I wouldn't want to watch a traditional Barbiere in the seasons ahead; and that's maybe the highest praise I can give Guy Joosten (who will direct the new Roméo at the Met).
Musically there were a few problems. Conductor Michel Tilkin left at the last moment as things didn't work out well with his orchestra. Anyway that's the official reason. Rumour has it that he simply left in disgust at Joosten's treatment (that Calypso serenade?). So the Antwerp music director Ivan Törzs had to jump in.
Now Italian belcanto is not exactly Mr. Törzs speciality but the orchestra is so fine that the Rossinian crescendi didn't suffer and that harmony reigned between pit and scene (I attended the second performance). There were a few times when Törzs lingered too long on recitatives and he almost brought the music at a dead end in "Freddo ed immobile" but he still made the best of a difficult situation and singers didn't need to keep their eyes glued on the conductor.
Originally Gary Magee should have sung Figaro but already at the beginning of the season it was clear that Walloon baritone Lionel Lhote would take over. The baritone has a clear, big booming voice which is improving all the time. His is probably the greatest talent in the country and I would dearly love to hear him in a big Verdi role. A pity we have to suffer once more the inevitable Caproni or Vanaud next season in all the theatres over here when there is such a fine voice and an exuberant actor available.
Mezzo Stephanie Houtzeel has a ripe fruity mezzo that becomes rather shrill above the staff; and her coloratura are not exactly pure either. I fear the lady was somewhat more chosen for her fine looks, long legs and fearless acting than for Rossinian musicality. Tenor Iain Paton has the right voice colour but his voice too is somewhat unwieldy and he had his difficulties too with the intricacies of the score. Already in 1964 Ugo Benelli proved (too soon for the times) that "Cessa di piu resistere" is a necessary but acrobatic show piece for the tenor but Juan Diego Florez has now made it so popular that it is no longer acceptable to cut it as happened here (though it would probably have exposed Paton's lack of coloratura in a cruel way). This was rather conspicuous as Berta's almost unknown aria was restored, though sung rather sharp by Anja van Engeland. Apart from Lhote, the best singing came from the wonderful black resounding bass voice of Alexander Vinogradov. Urban Malmberg was a fine Bartolo.
Though Joosten may ask a lot of movement and antics from his singers, he is cleverly enough not to demand they should sing with their back to the audiences or swinging on a rope etc. They could easily project their voices in the audience.