Recently in Performances
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.
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.