Recently in Performances
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.
Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim
) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.
09 Mar 2006
For most of its 40 plus years the Adelaide Festival of Arts has had as its central attraction the Australian premieres of a landmark European opera like Wozzeck, Lady Macbeth of Mtsensk, The Fiery Angel or landmark contemporary works like Death in Venice, Nixon in China or El Nino presented within a few years of their world premieres.
2006 saw the local premiere of a contemporary work that has, in the few years since its premiere, achieved the same degree of success as the Britten or Adams' works, Jonathan Dove’s three act opera Flight. Originally performed at Glyndebourne in 1998, Flight has been produced in The Netherlands, Belgium, Germany, twice in the USA and subsequently revived at Glyndebourne in 2005. The Adelaide performances feature the Glyndebourne production directed by Geoffrey Dolton recreating Richard Jones’ original direction.
The original idea for Flight came from the true-life report of Mehran Nasseri, who lived for eleven months within the Charles de Gaulle Airport, the same story that inspired the Tom Hanks movie The Terminal. Set in an airport terminal, Flight concerns two couples, a stateless and passportless refugee, two flight attendants and an older woman. One couple, Bill and Tina are about to re-kindle their flagging marriage with a second honeymoon and self-help book. The other couple is a diplomat and his pregnant wife who suddenly refuses to leave with him. The older woman, Sandra, is waiting for her latest fiancée to arrive, this one she met at a bar in Cabrera. A storm halts all flights and all are now stranded for the night. The proceedings are watched over and commented on by the Flight Controller from her observation tower. While the Refugee begs small change from the passengers, the women get drunk, the habitually promiscuous flight attendants have quickies in the elevator and later the male attendant seduces the equally promiscuous Bill.
Much has been said of the easy accessibility of Dove's score. Experiencing the opera in performance reveals a blending the dramatic possibilities of opera seria with popular music styles. Dove, for instance, describes the very ordinary departure lounge chatter like the holiday plans of the very ordinary Bill and Tina in jaunty Rhumba rhythms not unlike the Leonard Bernstein of Wonderful Town. The similarities between Flight and a top-drawer musical composer like Bernstein or Stephen Sondheim are apt.
In a recent interview the conductor of the Adelaide performances, Brad Cohen referred to Dove's compositional style at the time as “evolving” and that “it just seems right.” Dove’s sound world does have an instinctive feel and sounds like a melting pot of musical styles assembled with the same seeming ease Sondheim blended the fairy tale music of Tchaikovsky and Ravel with his own orchestral palette in Into the Woods or a good film composer transfers symphonic thought into visual support. Later he can refer to encroaching storms in a style not unlike the build up to the storm in Britten’s Peter Grimes. None of this is pastiche, however, just a couple of hours of constantly and refreshingly varied music. In purely orchestral passages the depictions of jets taking off and landing do in orchestral terms for aircraft what Honegger’s Pacific 231 did for steam trains. Dove, in fact, has recently drawn an orchestral suite from Flight called “Airport Scenes” which might well take its place along side Honegger's famous opus.
In the Festival theatre, the variety of the music was given full head by Cohen and the Adelaide Symphony Orchestra.
Not surprisingly for an Englishman Dove's word setting descends from Britten, particularly Britten's break with the older English preference for one note per syllable so that the high voices especially have exuberant melismas that take ‘flight’ as often as any of the aircraft in the opera. The opera's only really dramatic character, the Refugee, is written for a counter-tenor and in often dramatic arioso form making him sound foreign to the other characters and the overall jollity of their music. David Walker’s voice is full and resonant, highly dramatic, and at far remove from the usual ‘early music’ sounding counter-tenor. Mary Hegarty who sang the Flight Controller at the opera’s Belgian premiere seems perfectly at ease, her high soprano, reaching up to high F and, not just the staccato pips of a Queen of the Night, but sustained phrases.
Nuala Willis, who created the Older Woman in 1998, reprises her role here. Willis's voice is a plaintive contralto that gives the comic but sad character’s realization that her holiday romancing days are over an air of melancholy. This sad character is a descendant of the love-lorn contraltos in Gilbert and Sullivan opera easily transposed into the twentieth century where she can contribute to a Gilbertian about marital relationships
“I stuck to my ex-husband like religion…I should have stuck to religion.
We always called each other names…Bastard! Moron! Rotten Sod!”
Just as the Older Woman may have stepped out of a Gilbert and Sullivan, Bill and Tina (the Brad and Janet of the opera world) and the flight attendants are stalwarts of British farce with their ‘carry on abroad’ antics or frenzied pantomime sex scenes. The libretto by April de Angelis merges farce and drama, particularly towards the end where the Diplomat’s wife gives birth on stage and the Refugee’s true plight is revealed. Like the music the libretto draws parallels with those of musicals and popular theatre in suggesting an embittered modern world even in a light-hearted story. The characters through their close encounters with each other emerge with a new perspective on their lot and voice their own personal revelations rather than draw a homogeneous moral.
With over sixty performances worldwide, a compact disc recording and forthcoming DVD Flight seems likely to join the still thin ranks of contemporary operas that survive alongside the standard repertoire.
Flight by Jonathan Dove
Adelaide Festival of Arts
Performance date 3 March 2006