Recently in Performances
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.
28 Jun 2005
Meyerbeer's Les Huguenots at Liège
This performance must have been heart-warming for all diehards of traditionalism — no Spanish Civil War, no Palestinian-Israeli conflict, just plain religious warfare in France on the night of the 23rd of August 1572, the infamous ‘nuit de Saint-Bartholomée’ (St. Bartholomew’s Day Massacre). One is now almost so used to the excesses of ‘das Regie-Theater’ that one almost is shocked to see such a realistic looking production where dozens of people move on the stage in magnificent authentic costumes all the time (300 of them during the whole opera). As a consequence director Lacombe had his singers act as realistically as possible with real sword fights instead of stylised ones, no squirming on the floor etc. Apart from the visual splendour, everything was concentrated on the music and the singing.
Didier Henry (Le comte de Nevens), Philippe Rouillon (Le comte de St Bris), Gilles Ragon (Raoul de Nangis), and Annick Massis (Marguerite de Valois) (Photo: Opéra Royal de Wallonie)
Liège: Les Huguenots
Annick Massis (Marguerite de Valois); Barbara Ducret (Valentine); Urbain (Marie-Belle Sandis); Gilles Ragon (Raoul de Nangis); Philippe Rouillon (St Bris); Didier Henry (Nevers); Branislav Jatric (Marcel)
Orchestre et choeurs de l'Opéra Royal de Wallonie
Conductor Jacques Lacombe - Director Robert Fortune
Costumes : Rosalie Varda - Sets : Christophe Vallaux
This performance must have been heart-warming for all diehards of traditionalism — no Spanish Civil War, no Palestinian-Israeli conflict, just plain religious warfare in France on the night of the 23rd of August 1572, the infamous 'nuit de Saint-Bartholomée' (St. Bartholomew's Day Massacre). One is now almost so used to the excesses of 'das Regie-Theater' that one almost is shocked to see such a realistic looking production where dozens of people move on the stage in magnificent authentic costumes all the time (300 of them during the whole opera). As a consequence director Lacombe had his singers act as realistically as possible with real sword fights instead of stylised ones, no squirming on the floor etc. Apart from the visual splendour, everything was concentrated on the music and the singing.
It is no mean feat of the Liège Opera to cast a big star (in Europe anyway) as Annick Massis in the small role of the Queen of Navarra: one aria, a duet and an ensemble and that's it. Massis has no scintillating voice; in fact it is more of a big lyric and the sound is not too richly coloured. But then she compensates for her lack of natural means by a formidable technique. Every kind of coloratura trick is in her trade and she can milk out the "O beau pays de la Touraine" till the last note. As her French is perfect, I even prefer her interpretation to Sutherland's well-known dazzling, but far less incisive, performance. Massis proved too that a small role is not something to be taken on as an afterthought and she acted the Queen with dignity, coquetry and irresistible charm.
Another winning performance was given by Marie-Belle Sandis as the page Urbain. She has the requisites for the role: a delicious mezzo-soprano the French call "une Falcon" (much like von Stade), a perfect pronunciation and with her small figure she was fully credible in this somewhat awkward role. Still another French soprano (indeed, this was almost an authentic French performance) was Valentine. Barbara Ducret is typical for the sweet/sour voices many a famous French soprano had though to my taste the voice is a little too sour, too charmless though she has all the notes and a house rattling volume.
The male singers were more of a mixed lot. Philippe Rouillon was a sonorous and utterly convincing St Bris. Indeed I wished he had been given the bigger role of Marcel. Didier Henry did his best as Nevers, acting with a sure touch, making a real person of this somewhat bleak figure. His baritone voice is neither beautiful nor ugly. The problem lies with Meyerbeer, however. As Nevers is such an important role in the play though without an aria, no real first class baritone will be cast in the role.
The only disillusion of the evening was veteran bass Branislaw Janic as Marcel. He had the looks of the part and acted a "vieux Huguenot" as the composer would have wanted it but the voice is worn, with a big wobble, almost no resounding top and his two impressive solos, the Luther chorale and the Pif paf, went for nothing.
And then there was the surprise of the evening: former baroque tenor Gilles Ragon. As Les Huguenots is so rarely performed one has not heard a lot of Raouls in the flesh and some legendary performances are deeply printed in any collector's consciousness. Monsieur Ragon therefore has to compete with some strong ghosts. I saw my first and up to now last Huguenots 38 years ago with the legendary Tony Poncet as Raoul, the last of the great French fort ténors. Most even elderly people in the house had never seen a performance but almost all knew the recording of one of the greatest singing feats ever heard on a scene: the amazing Raoul of Franco Corelli in the 1962 La Scala performance where every time one hears it one asks oneself how it's possible that a human throat can make such loud and at the same time such beautiful sounds. Well, Giles Ragon did well, very well. Though the sound is not particularly distinguished the voice is big with a gleaming edge and a good top. His aria was a tremendous success and he easily dominated the ensembles. Indeed one wondered how such a big voice had ever had a career in baroque. During the duet he too understood that he couldn't compete with Corelli and there he preferred some piano on the ascending phrases. But all in all a winning performance; acted well too, though he is a very small man. Indeed there was as to voice as to height a lot of resemblance with Tony Poncet (though that tenor was even 10 centimetres shorter).
Conductor Jacques Lacombe got some excellent playing from the orchestra and the lustily singing chorus which is always at its best when it can sing in the native language. Lacombe had a few moments where his tempi were rather too slow, to wrench out some pathos while during some choruses he was on the fast side. The ballet was cut and there were some very minor other cuts but on the whole we got more than three hours of music which passed as in a moment. I hope the Walloon opera will revive this production in a few years time with a cast as good as this one and I can only copy the famous words of the Michelin Guide for the many who have never seen a performance: "Vaut le voyage".
Click here for additional production photos.