Recently in Performances
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
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Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
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programme presented. In 1610, Claudio Monteverdi published his Vespro della
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If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
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(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
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revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
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Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
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shared a line of cocaine under the grim glare of naked light bulbs and the
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Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.
An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera
Handel’s genius is central focus to the new staging of Handel’s oratorio Theodora at Paris' Théâtre des Champs-Élysées.
1985 must have been a good year for founding a musical ensemble, or festival or organisation, which would have longevity.
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.