Recently in Performances
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The town’s name itself “Baden-Baden” (named after Count Baden) sounds already enticing. Built against the old railway station, its Festspielhaus programs the biggest stars in opera for Germany’s largest auditorium. A Mecca for music lovers, this festival house doesn’t have its own ensemble, but through its generous sponsoring brings the great productions to the dreamy idylle.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
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
13 Oct 2005
Anna Christy in Recital
OMAHA — Having first heard Anna Christy a few years ago in the title role of Lucia di Lammermoor, she clearly had a bright future ahead of her. On Tuesday, this opinion was not only reaffirmed, but it is now manifest that this lovely and elegant soprano is well on her way to becoming one of the great coloraturas of the 21st Century.
The first half of her recital was devoted to German lieder. She began with a set of three familiar works by Schubert: “Die Forelle,” “Du bist die Ruh” and “Heidenroeslein.” She approached these with appropriate restraint, emphasizing the text, phrasing and vocal placement.
This was followed by Schubert’s trio, “Der Hirt auf dem Felsen,” op. 129, for soprano, piano and clarinet. One of Schubert’s last works, this piece fluctuates from the heights of ecstasy to the depths of despair, ostensibly expressing Schubert’s thoughts of his own mortality. The musicians performed with near abandon, reaching a crescendo at “Je weiter meine Stimme dringt, je weiter die Stimme dringt, je heller, je heller sie wieder klingt” (“The further my voice penetrates, the further the voice penetrates, the lighter, the more brightly it sounds again”), which called for stunning vocal gymnastics.
The first half closed with five of the six lieder from op. 68 (the so-called “Brentano Lieder”) by Richard Strauss. Devilishly difficult, these pieces required perfect intonation, control and placement, all of which Christy performed with seeming ease. The last of this set, “Amor,” portrayed Christy’s coquettish side, a fitting preview of her upcoming performance of Zerbinetta (Ariadne auf Naxos) at La Scala later this season.
The second half was devoted to American music. Premiered by Eleanor Steber and more recently championed by the likes of Dawn Upshaw, Barber’s “Knoxville Summer of 1915,” op. 24, has become a standard amongst American singers. When performed with piano accompaniment, the range of stylistic choices made by Barber is starkly revealed, which demonstrates Barber’s lyrical best to percussive rhythms àla Prokofiev or Bartok. The challenges to the performers are daunting. As throughout the recital, Christy performed with precision as to phrasing and dynamics. Her tone was at all times focused, bright and ringing. Well done.
Christy then concluded the second half with two works by William Bolcom — “Amor” from volume 1 of his Cabaret Songs and “Muffin’s aria” from his opera, A Wedding, which she premiered at the Chicago Lyric. As with the Strauss, “Amor” showed her as the classic femme fatale. “Muffin’s aria,” on the other hand, showed her introspective side.
She segued from “Muffin’s Aria” to her encore, Puccini’s “O mio babbino caro” (Gianni Schicchi), by explaining that she recently married in Italy and planned to sing this on the bridge in Florence but “chickened out.” In a word, marvelous.
Christy was accompanied by pianist Kelly Kuo and, in "Der Hirt auf dem Felsen," by clarinetist John Klinghammer. Kuo was a true musical partner throughout the program. And, Klinghammer performed his role with aplomb.
At all times, Christy appeared at ease, as if she were in her natural element. While recitals do not call for dramatic action, it is clear that she is a singing actress of the first order.