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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.
07 Aug 2005
The director of this production, Robert Herzl, composed an impressively thoughtful and serious essay for the DVD booklet. He considers the historical context of both the opera-story and the opera's premiere, taking into consideration Verdi's staging demands as well as the composer's willingness to compromise for the greater benefit of the production.
Eventually, this statement appears:
In my view, those who plan to put a work on the stage should first of all take a look at it from the viewpoint of the age in which it was written, in order to be able to present it in a manner that meets the aesthetic requirements of our own time.
Herzl goes on to explain how that principle guided the creation of this production at this "open-air event" (basically, a quarry) at the Festival St. Margarethen festival.
Viewers of the lamentable result will have to reconcile Herzl's essay with his show. Your reviewer cannot do so.
Working in conjunction with Manfred Waba (stage design and special effects), Herzl has devised an Aida with over-the-top stage action which frequently swamps the story and dwarfs the characters. Examples: At the end of her confrontation with Aida, Amneris hops into a chariot, grabs a shield and sword, and goes flying off the stage, like a Valkyrie. For the victory procession, Radames (probably a double, as the singer's face is masked) laboriously rides an elephant down a hillside onto the stage area. In the final scene, each of the three principals is placed in vertically aligned openings carved high into the quarry wall, with visible restraining ropes to keep the singers from accidentally falling forward and down to a doom more certain that suffocation in such a "tomb" (why Amneris is placed in the same location goes unexplained).
One might also wish for an explanation as to how a Nordic blonde youth ended up in Egypt for the requisite farce of a dance sequence. And what would Verdi have thought of the lovingly filmed fireworks show at intermission? Perhaps best not to know.
Even when such outlandish malarkey isn't provoking either groans or guffaws (or both), Herzl has failed to get satisfactory performances from his singers, with the Aida of Eszter Sumegi being a notable exception. Cornelia Helfricht's Amneris needs a good slap, as she struts arrogantly round the stage, frequently displaying a tendency to throws cups and articles of clothing to the ground in a hissy fit. The voice is no fresher than her matronly appearance would suggest.
As for Kostadin Andreev's Radames, here is a plump, not especially masculine Egyptian war hero given to pouting and "dramatic" arm waving. Andreev doesn't have a satisfactory voice to compensate for his unfortunate acting, with most of the voice no more than a mezzo forte bleat, although he can reach the high notes.
Eszter Sumegi retains her dignity for most of the evening. The tight vibrato will evoke varying responses in listeners, but she has it in fair control, and most miraculously, manages to create and hold onto a believable character. The best scene of the evening takes place on a bare stage, as Amonasro (a decent Igor Morosow) confronts his daughter. Here Herzl shows what he can do when quarry-sized antics don't come first.
At the start and after intermission, the orchestra is glimpsed, but their exact location in relation to the stage remains a mystery, as the quarry setting allows for no pit. The sound throughout, unsurprisingly, comes from a generic source, and all the singers sport small microphones, tastefully taped to the center of their foreheads. The cast resembles an alien race of a Star Trek episode where the budget only allowed for a brow ridge to indicate their extra-terrestrial origins.
Almost any other Aida on DVD earns preference over this one, but if a viewer wants more of the intimacy of the opera captured, the Zefferelli-produced Busetto production deserves mention. For high-powered singing and stage excess, perhaps the La Scala production with a quarry-sized Pavarotti would fit the bill.
Just anything, anything, other than this Festival St. Margarethen production. The fireworks are nice though.
Los Angeles Harbor College