Recently in Performances
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
28 Mar 2006
"Lysistrata, Or the Nude Goddess" at NYC Opera
Having missed the first 10 minutes of Lysistrata, Or the Nude Goddess, I foolishly crept into my seat where I saw what appeared to be four raging Lainie Kazan’s protesting war by Athenian ruins.
Truncating this newly refurbished edition of Aristophane’s play, it turns out, had not ruined my understanding or appreciation of the performance. Luckily this production, which was completely stripped of its traditional Greek chorus and all but three scenes, was not a complicated affair. Lyricist and composer, Mark Adamo had presented us with a Lysistrata 2.0 that cut to the humorous core of the original play while inserting myriads of anachronistic expressions, quips, and one-liners, as well as the occasional jab at Greek mythology into the opera. This was a valiant effort and a remarkable opera that has provided a necessary shock of life into an ever predictable routine.
Following the women (which at times reminded me of some wonderfully deranged Sixties girl group, notably the Spartans), the next item that came to my attention was Lysistrata’s set. This was severely uncomplicated and lacked many of the ornate and over-the-top pieces that often clutter the stage. The simplicity of Lysistrata’s set guaranteed that the talent would not up upstaged by it. The only misguidance was the backdrop displaying Athenian ruins. Clearly, in their golden age, the acropolis had not yet crumbled. Whether intentional or not, this elicited laughter from the reviewer and if anything served as one of the many visual jokes present. A rotating centerpiece served as a utilitarian device as each scene shifted almost effortlessly into the next. Several unit structures and steps proved to be useful places for the cast to perform. At one point, the performers were aligned as if perfect Greek figurines on the stage. This was just as pleasing to the eye as had been all of the blocking: the performers covered the stage at various times in a variety of poses, gestures and movements.
The beauty of Mr. Adamo’s adaptation was that the audience lived for the next song, or off-kilter one liner that resulted in uproarious laughter. In this play, where the plot merely consists of Athenian and Spartan wives conspiring to end war by refusing sex to their husbands and lovers one is not concerned with depth of the characters or storyline. The slapstick and overall fatuous spectacle earned the audience’s attention whereas with many operas one is galvanized purely through song. Though, this did not diminish one from respecting the vocal prowess and sublime craft that this stellar cast exuded.
Musically, the first act caught my attention as it sprouted hyper rhythms and percussion that burst and popped almost magically into the theatre. The room was full of colorful and rich palette of sounds that was not merely sodden with strings or conglomeration of masculine horns. In the exuberance of quick trills and rushes on the temple blocks I was reminded of the music of Frank Zappa. They ushered in a playful mood and atmosphere which brilliantly accompanied the performers. There was a refreshing nature to the music as its cheerful poignancy sometimes almost intermingled with the actors but never upstaged them. There were also cherished moments where the singers and orchestra performed in syncopation. It was a shame that this urgency was not sustained throughout the entire performance though.
Strangely, halfway through Lysistrata, we were confronted with a change of pace. The songs slowed as the author focused our attention to Lysia’s (played by a fiery Emily Pulley) soul searching or the confounded love of Nico and Lysia. In comparison to the first half, the music seemed slurred. Where irreverent humor and quick rhythms once ran amok in unison now was followed by character development and heartfelt songs. The audience, having been engaged in a certain fashion for the first half, possibly wasn’t ready for this change of pace. This loss of momentum was truly the only downer of Lysistrata.
Similarly, like Zappa, Mr. Adamo created a simulacrum of a language that was perverse to the ear. The Spartan women sang with additional w’s and z’s inserted into words, e.g., ‘cwotches’. It sounded slightly deranged and not unlike a bad impersonation that yielded raucous laughter many times over. Like Zappa, I can imagine that Mr. Adamo was aiming purely for entertainment value and neither for intellectual or scatological purposes. The crowd, thankfully, found this comical device funny too.
Despite the slackening of the second act, Lysistrata pulled gallantly through to the approval of the audience. Refreshing and creative, bold and energetic, this was a performance and show to remember. Lysistrata peeled away at that gossamer veil between what some consider high and low art forms. In the end, those engaged could decide whether they wanted to take home with them more than just a night of comedy.