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On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
25 Sep 2005
GLINKA: Ruslan and Lyudmila
Based on a tongue-in-cheek poem by young Alexander Pushkin, Mikhail Glinka’s second opera Ruslan and Lyudmila (1842) is an epic adventure tale, in which three rival Russian knights roam the land in search of a Kievan princess kidnapped by a sorcerer.
The opera, known to most Western listeners primarily through its showpiece overture, is one of the most brilliant creations of 19th-century Russian music. In five acts with a prolog, it is enormous and difficult, requiring high virtuosity from both singers and instrumentalists; the score also presents a host of problems for stage directors as it defies all attempts at realistic staging. Meanwhile, conductors face numerous textological conundrums caused by the divergences in the existing sources and the lack of an authorial manuscript, believed to have perished in a fire.
A new Bolshoi Theater recording of the opera, made live in 2003 and recently released by PentaTone Classics, may help to solve some mysteries of Glinka’s masterpiece. Conductor Alexander Vedernikov claims that his production represents “the original version” of the work recreated from the newly found authoritative copies of the lost manuscript. Fans of the opera should not expect major revelations, however: while there are several discrepancies in pitch and rhythm throughout the score, the sequence and content of the material is essentially intact. Indeed, if some music on this recording proves unrecognizable, it is the unfortunate consequence of the performance quality of the new production.
To start with the singers, the ladies generally did better than the men. Alexandra Durseneva’s voice is a deep, rich contralto, a little heavy for my taste, but just sexy enough for the Middle-Eastern exotica of her character, prince Ratmir. Maria Gavrilova is a lovely Gorislava; she is by far the best singer in the lineup, which makes one wish that the composer had given her more than a cameo role. Ekaterina Morozova as Lyudmila is more disappointing: her coloratura is clean and precise, but is suitable more for the Queen of the Night (her signature part) than for a warm-blooded Russian princess; this is particularly noticeable in her Act 4 aria. Still more disappointing is Lyudmila’s beloved, Ruslan; the voice of Taras Shtonda, particularly in the barely perceptible low register, is thoroughly uninspiring. Valery Gilmanov appears to have given up on the whirlwind tempi of Farlaf’s buffo part: the Vivace assai of the famously Rossini-esque Act 2 rondo barely qualifies as a Moderato, completely destroying the hilarious effects of the scene. Maxim Paster’s ringing tenor with steady yet sweet upper register is perfect for Bayan; Vitaly Panfilov’s Finn, however, while technically flawless, is painfully devoid of color. Indeed, several singers on the recording seem to have sacrificed both richness of timbre and richness of interpretation to the goal of precisely rendering the notes of the carefully restored score. One wonders if such an approach would win any converts to Glinka’s genius.
It is difficult to overestimate the tremendous importance of the chorus in Glinka’s epic. According to Vedernikov, the emphasis placed in his production on the chorus as an ever-present commentator led him to abandon the realistic costume drama for an oratorio-like “mystery” (the one with a more contemporary look, as evident from the CD cover art). Unfortunately, as I have already commented in an earlier review for this site, the Bolshoi Theater’s chorus is weak, and has trouble keeping both the pitch and the beat. The introduction and finale – scenes that require more volume than precision – are less affected by this, but the quality is disastrous, for instance, in the Act 2 scene of Ruslan with the giant Head – the character represented by the unison male choir that must be perfectly in sync to achieve the desired effect.
Last but not least, Glinka’s opera lives and dies by its orchestration: as Vedernikov points out, apart from the complex, delicate accompaniment, there are more than 40 minutes of purely instrumental music in Ruslan. The fiendishly difficult score presents an evidently insurmountable challenge to the Bolshoi orchestra, the weakest spot of that theater’s productions over the past few years. As a result, Glinka’s sparkling orchestra comes across as dull, colorless, heavy, and more than occasionally out of tune. The tempo of the brilliant overture is sluggish at best, and even in that tempo the musicians are struggling.
Overall, the new Ruslan and Lyudmila recording is of value for a performer in need of consulting an authoritative version of Glinka’s score without visiting the notoriously mysterious Moscow archives. The rest of us may be better off staying faithful to the Mariinsky recording, or even the vintage 1978 Bolshoi production with Nesterenko, which Melodiya recently re-released on CD. After all, as the conductor tells us, this work is first and foremost a musical masterpiece; it should be approached as such.
University of Missouri—Columbia