Recently in Performances
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
30 Mar 2006
Darkling by American Opera Projects
The East Thirteenth Street Theatre is so unprepossessing that it would be easy to miss it altogether. From the street the entrance looks like an ice cream shop more so than a theatre. The crowded foyer has chairs around little tables and a food service counter.
Behind this façade and through sets of double doors is a dark, intimate theatre with seating on three sides of an open performance area. The stage, which is really just the space in the center of the room, is completely surrounded by translucent screens onto which Hardy’s poem is projected. In this dim, almost secret space, American Opera Projects, Inc. is doing great things. Recently at the East Thirteenth Street Theatre AOP presented Darkling, a new opera that is so multi-layered it defies description.
Anna Rabinowitz’s response to coming into possession of some family letters and postcards dating from the Holocaust was to write the long poem Darkling (2001). Rabinowitz used Thomas Hardy’s poem of 1 January 1900 “The Darkling Thrush” to guide her in the writing of her own poem—specifically, Rabinowitz’s Darkling is a loose acrostic based on Hardy’s poem. In addition to the acrostic, the Hardy poem also inspired the somber mood of Darkling, as well as its moments of brightness.
Director Michael Comlish adapted Darkling to the opera stage, creating a new, multi-media work based completely on Rabinowitz’s poem. At an after-performance Q and A panel with the creators of Darkling, Comlish emphasized that every word was Rabinowitz’s including the aria-like sections, the words spoken by the actor-singers, the texts projected onto the walls of the theatre, and the texts performed on the taped “soundscape.” Through these media, nearly all the lines of the poem Darkling were expressed somewhere in the opera. Comlish worked closely with composer Stefan Weisman and a host of designers to realize his vision for this multi-media event.
Weisman looked to the setting of Hardy’s poem by Lee Hoiby, a song that has been popularized by such luminaries as Leontyne Price and Jean Stapleton. The entire work was concluded with a straightforward performance the Hoiby setting, allowing the audience to access both the musical and poetic works that inspired the various creators of Darkling.
The thirteen performers of Darkling had the difficult task of capturing the audience’s imaginations and hearts without the safeguard of a plot, and they succeed in this admirably. Neither the poem nor the opera has clear narrative thread; rather, according to Rabinowitz, the fragmented nature of the opera reflects the fragmented nature of her poem, which in turn points toward the history told by the letters, postcards, photos, and other documents from her family’s experiences in the Holocaust. The opera, like the letters, allows us to glimpse a small piece of history—the histories of particular individuals and of a war.
In 80 minutes of intense visual and aural stimulation, Darkling achieves moments of powerful emotion. At times I felt moved to tears, though I cannot quite explain all the details that contributed to that because so much was happening simultaneously.
A postcard advertising Darkling features a line from Rabinowitz’s poem, asking “who will acknowledge things of darkness as their own?” Indeed, the work places the onus of understanding and acknowledging on the audience. Through lighting, projection, stage effects, and choreography, the creators of Darkling make the audience a part of the performance, demanding one’s attention at all times.
At the Q and A session, one of the creators on the panel mentioned that Darkling makes abstract ideas and music accessible, to which an audience member replied, and I paraphrase, ‘not really.’ I don’t think this gentleman was criticizing the opera—indeed, it seemed that everyone who stayed to hear the panel really enjoyed it—I think that he was pointing out that the unfamiliarity of the form of the work was disconcerting or disorienting. I suspect that this disorientation was planned all along because by not presenting the story in a linear fashion or filling in any pragmatic details, Darkling requires the listener to engage in some contemplation. The listener gets out of the opera what she or he put into engaging with the material.
There is an optimistic message to be found Darkling. Rabinowitz pointed out at the Q and A that in the Hardy poem the darkling thrush of the title chooses to sing despite the bleakness all around. In Darkling, the Jewish couple whose fate we are following survives the Holocaust almost by accident when they come to America. There is gloom all around them in the form of their loveless marriage and poverty in the United States, but I sense that in a way, this very production is possible only because they struggled on.
Clearly, this is only one reading of an intensely complicated work of art. Bravo to AOP for supporting such controversial and ultimately important work, and to the creative minds that fitted it all together in a thought-provoking way.
The Graduate Center – CUNY