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This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
05 Feb 2006
Body and Soul - A New “Poppea” in London
Monteverdi’s great work, “L’Incoronazione di Poppea” in a “semi-staged” format, has been chosen to showcase the talents of some exciting young singers and musicians in London recently as the first part of an ambitious project aimed at a more holistic approach to singing opera.
Known as “Il Corpo Cantante” or, less felicitous in English, “the Singing Body”, this project is the brainchild of Ashley Stafford who combines his experience as singer, teacher and osteopath to explore and give singers “a clearer insight into the specific ways in which the physical nature of singing relates to the whole body …. and to explore the links between our imaginative feel for music and the body’s way of transforming that desire …..into creative expressive reality.”
Today’s professional opera houses demand an ever-higher synthesis of both vocal and dramatic artistry - and young singers ignore this at their peril. So the project also aims to give young singers with ambitions as soloists a chance to experience and become better aware of the links between the physical, mental and emotional demands of singing at a professional level. This latter goal was much in evidence at the group’s “Poppea” where the demands of the small but elegant space at the Dutch Church, Austin Friars, London were obvious. The singers had to adapt to low stage just feet from the audience, with only a wooden pulpit structure behind them to be climbed to give occasional height when required by the drama. They also had to enter and exit down the sides in full view of the hall’s packed seats. Some of the singers coped better than others with this rather exposed situation. The excellent small ensemble of 8 musicians, led incisively and elegantly from the harpsichord by the experienced Marco Ozbic, musical director and fellow-creator of the project, were centred at the front of the main aisle - close enough to enable study of both their music and bowing technique by some patrons. Noticeable for his eloquent playing was cellist Simon Wallfisch, and first violin Emma Parker also impressed with a sympathetic ear for the idiosyncrasies of this music.
Marco Ozbic also approached the well-known problem of paucity of orchestration left to us by an ageing Monteverdi (or his assistants) in a positive way. The enigma of the sparse instrumental music in “Poppea” is one of the major difficulties that modern interpreters face as, apart from some unspecified ritornelli, nearly all solo vocal parts are accompanied only by continuo. Ozbic thinks this seems at odds with the colourful instrumentation found in Monteverdi’s earlier operas, and so has compromised very successfully by adding instrumental lines in suitable places that helped produce a most lively and dynamic support for the singers and dramatic action.
However, it became obvious very quickly that there was a significant variation in levels of opera performance experience among the singers; some like Helen Court (sop. Poppea) and Andrew Tortise (tenor, Lucano, soldier and Seneca’s friend) showed that experience by an easy confidence on stage coupled with expressive and technically assured singing. Court in particular was impressive in her characterisation of the conniving Poppea - just the right degree of knowing manipulation without undue over-emphasis.
Others, less experienced but seemingly with plenty of stage confidence already coupled with real vocal talent, such as Charlotte Tetley (mezzo-sop, Ottavia), Revital Raviv (sop.Virtu/Drusilla), James Armitage (ct, Arnalta) and Daniel Keating-Roberts (ct, Amor) seemed to relish the dramatic opportunities that Monteverdi offers. Tetley in particular has both a dramatic soprano voice and stage presence to match. Keating-Roberts has an unusually strong and characterful countertenor which, coupled with an eye for comedy, gave indications of a natural talent in the manner of a Visse or Robson.
Of the less experienced performers, Calvin Wells’ performance as Nerone caught the eye. It is rare for a countertenor, even a high one, to sing this role at pitch, as the composer wrote it; there is much above the staff and it imposes some quite tricky technical demands. It is in fact more of a “male soprano” role, but Wells certainly had the vocal resources to match it, and as he grew out of his understandable nerves and into the character of the emperor in the second and third Acts, one began to hear more clearly what a promising talent he is, given that he will absorb more stagecraft with experience.
More polished, if lacking a little in volume and “bite”, was countertenor Andrew Pickett’s noble and affecting Ottone, well drawn and sympathetic. Timothy Dickinson’s warm and rounded bass-baritone dealt with Seneca’s sonorous low passages with ease although like Wells, he was lacking somewhat in actorly technique at this stage of his career. Lucy Page, Thomas Herford, Gregory Hallam and Elizabeth Graham all acquitted themselves well in the smaller roles with Page switching roles very effectively between Fortuna and a page boy.
A full house gave warm applause to an ambitious production that achieved its goals on all levels.
© S.C. Loder 2006.