Recently in Performances
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
23 Aug 2005
CHRISTINE BREWER — The ‘Anti-Fleming’
As everyone knows, the art of the song recital is in decline. When you and I were young Maggie, Columbia Concerts and Community Concerts regularly sent vocal and other musical artists all around America providing a never fading rainbow of wonderful music, as great classical music performers educated and thrilled us with their art. For example, As a youth I once heard Leonard Warren give a recital in a high school auditorium in Webster Groves, Missouri, price of admission $5. I still have the ticket stub - and the memories. Kathleen Ferrier, Robert Casadesus Jennie Tourel and Guiomar Novaes performed in my town when I was a kid.
Now the rainbow has faded and only a few festivals and occasional venues in the largest cities offer such vocal and instrumental recitals. Happily, one of these is the Santa Fe Chamber Music Festival, which presented the elegant soprano Christine Brewer in a concert of American art songs August 9, in the 400-seat St Francis Auditorium, part of the Museum of New Mexico in downtown Santa Fe. La Brewer sang to an audience of musical cognoscenti, alas in a half-filled hall. Her co-equal at the piano was Craig Rutenberg, and together they gave a 90-minute program that was the stuff of legend it was so beautifully achieved. In her unaffected naturalness as a singer, it seems apt to call Brewer 'the anti-Fleming.' Both sopranos are gifted artists, but Brewer's artistic integrity and naturalness make her an ideal recitalist compared to the over-contrivance and mannerisms of a Fleming. Bottom line: Brewer is there for the music, nothing else gets in the way.
As is becoming known, Brewer's large, wide-ranging soprano voice is one of the most beautiful before the public today. She is singing Isolde in Edinburgh as I write this, and will be San Francisco's Isolde next season, and no doubt will be heard in other Wagnerian roles over years to come. One of my favorite comments read recently about Brewer is, "she may be in her late 40s, but the voice sounds 35!" This is true; her tone is rich and steady; she is the mistress of color and nuance; her musical instincts are true and dramatically valid; her diction is clear (as St Louis heard in June with her Queen Elizabeth in Britten's Gloriana), and her command of dynamic shading is breathtaking. She has everything that Helen Traubel had, plus the three top soprano notes, and everything Eileen Farrell had plus the ability to sing a haunting piano and spinning pianissimo tone. If this sounds like I am overstating things, go hear for yourself.
The program of art songs, as they used to be called, was well chosen and smartly paced. Works of John Carter and Richard Hundley, along with an operatic sounding mini-cycle by J. C. Menotti dominated the first half. This music seemed not well known to the audience, which received it warmly. Better known were songs of Charles Ives and Harold Arlen, and a set of four songs regularly sung by Kirsten Flagstad on her American recital tours, by Sam Barber, Edwin McArthur, Walter Kramer and Mildred Lund Tyson. Kramer's was an impressionistic song "Now Like a Lantern," from 1919 based on a James Joyce poem; it was fascinating. For her first encore, the intrepid soprano took on the music critics with a song by Celius Dougherty, "Review" that parodied a critique of a vocal recital. This derring-do paid off with its gentle but pointed chiding of cliched review writing; the audience was much amused by the singer's comic abilities. Brewer ended with a surprise, "If I Could Tell You," the long-forgotten theme song of The Voice of Firestone, a song that once swept America every week on radio and television, written by none other than Idabelle Smith Firestone, wife of rubber magnate. The moment Craig Rutenberg played the intro much of the audience stirred in recognition of the sentimental ballad, and after the soprano's radiant performance gave her a standing ovation. Mrs. Firestone never had it so good. [The song can be heard on a number of VHS video tape issues of The Voice of Firestone, performed by a wide variety of singers, none finer than the youthful golden soprano of Eleanor Steber.]
J. A. Van Sant
Santa Fe, New Mexico