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
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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.