Dulce Rosa, a brand new opera, had its world premiere Friday night, May 17, 2013 at the Broad Stage in Santa Monica, California. It was produced by Los Angeles Opera, but staged in the smaller theater.
Richard Jones’ 2009 production of Verdi’s Falstaff translates the action from the first Elizabethan age to the start of the second.
Baritone Gareth John is rapidly accumulating a war-chest of honours. Winner of the 2013 Kathleen Ferrier Award, he recently won the Royal Academy of Music Patrons’ Award and was presented the Silver Medal by the Worshipful Company of Musicians.
This second revival of Jonathan Miller’s La bohème was the first time I had caught the production.
It’s Verdi’s bicentenary year and Rolando Villazón has two new CDs to plug — titled somewhat confusingly, ‘Villazón: Verdi’ and ‘Villazón’s Verdi’, the latter a ‘personal selection’ of favourite numbers performed by stars of the past and present.
Nicola Luisotti and the San Francisco Opera Orchestra climbed out of the War Memorial pit, braved the wind whipped bay and held spellbound an audience at Cal Performances’ Zellerbach Auditorium at UC Berkeley.
Utterly mad but absolutely right — Richard Strauss’s Ariadne auf Naxos started the Glyndebourne 2013 season with an explosion. Strauss could hardly have made his intentions more clear. Ariadne auf Naxos is not “about” Greek myth so much as a satire on art and the way art is made.
“Man is an abyss. It makes one dizzy to look into it.” So utters Georg Büchner’s Woyzeck, repeating what was also a recurring motif in the playwright’s own letters.
National Opera Company of the Rhine has marked this year’s Benjamin Britten celebration with a remarkably compelling, often gripping new production of the seldom-seen Owen Wingrave.
Once upon a time, Frankfurt Opera had the baddest ass reputation in Germany as “the” cutting edge producer of must-see opera.
Productions of Giuseppe Verdi’s Rigoletto can serve as a vehicle for individual singers to make a strong impression and become afterward associated with specific roles in the opera.
Just in case we were not aware that the evening’s programme was ‘themed’, the Britten Sinfonia designed a visual accompaniment to their musical exploration of night, sleep and dreams.
Poor Aida! She never seems to have anything go her way.
Is it possible to upstage Jonas Kaufmann? Kaufmann was brilliant in this Verdi Don Carlo at the Royal Opera House, London, but the rest of the cast was so good that he was but first among equals. Don Carlo is a vehicle for stars, but this time the stars were everyone on stage and in the pit. Even the solo arias, glorious as they are, grow organically out of perfect ensemble. This was a performance that brought out the true beauty of Verdi's music.
The big names were absent: Duparc, D’Indy, Debussy, Ravel … and while Fauré, Chausson, Roussel and several members of Les Six put in an appearance, in less than familiar guises, this survey of French song of the early 20th century and interwar years deliberately took us on a journey through infrequently travelled terrain.
Composed between 1718 and 1720, Handel’s Esther is sometimes described as the ‘first English Oratorio’, but is in fact a hybrid form, mixing elements of oratorio, masque, pastoral and opera.
Hector Berlioz's légende dramatique, La Damnation de Faust, exists somewhere between cantata and opera. Berlioz's flexible attitude to dramatic form made the piece unworkable on the stages of early 19th century Paris and his music is so vivid that you wonder whether the piece needs staging at all.
St. John’s Smith Square was the site of Elizabeth Connell’s final London concert, intended as a farewell to London on her moving to Australia. It was rendered ultimately final by her unexpected death.
With the building of the Suez Canal, Egypt became more interesting to Western Europeans. Khedive Ismail Pasha wanted a hymn by Verdi for the opening of a new opera house in Cairo, but the composer said he did not write occasional pieces.
Back for its fourth revival, David McVicar’s 2003 production of Mozart’s Die Zauberflöte has much charm, beauty and artistry.
In his introduction to the Welsh National Opera’s celebratory 60th anniversary season programme Carlo Rizzi, their Music Director, declares that “we are bringing the best of Wales to the rest of the world — and the best of the world to Wales”.
And with this brand new production of Monteverdi’s “Il Ritorno d’Ulisse in patria” (The Return of Ulysses) in collaboration with the Royal Danish Opera, staged in WNO’s stunning new theatre at the Millennium Centre in Cardiff, both sentiments are upheld. “In these stones horizons sing” is blazoned in huge letters across the gleaming metal carapace of the new building; words that Monteverdi himself might have set to music. It is an exciting and challenging greeting to any visitor, and WNO did not disappoint.
The genius of Monteverdi’s free-flowing music drama is powerfully displayed and faithfully reincarnated by two of today’s most brilliant exponents of baroque opera, director David Alden and conductor Rinaldo Alessandrini. Alden’s trademark wit and visual quirkiness is certainly present, yet his solid-seeming but softly-glowing sets always support, not detract, from the epic story that unfolds of the wandering hero and his loyal but beleaguered wife. Alden knows exactly when to interpolate the occasional visual joke, or dramatic flourish, yet when the music demands he steps back and gives it and the singers time and space. “Ulysses” is essentially an ensemble opera, and Alden is quoted as saying that his joy in working on it comes partly from the opportunity it gives him to work with, and be integrated with, not only the singers but the musicians as well. If there’s a caveat to his work here it is that he seems unable to resist the almost-obligatory rather sleazy bit of simulated sex from time to time; as with any stage business or comedy, there’s a fine line between joke and boorishness and at times he oversteps it.
However, the integration he speaks of is there for all to see and hear, for equally assured and committed to the brilliance of the old master’s musical invention is Rinaldo Alessandrini in the pit (and on harpsichord continuo) with the WNO’s own fleet-footed orchestra augmented for this production by some six or seven period instrument performers, including the now-essential theorbos. They, together with the baroque cello and harp support much of the vocal story telling and it was obvious that an intensely-felt rapport between director, musicians and singers had developed over many days rehearsal. What is left of the original score of 1640 is of course but bare bones - it is up to today’s directors and singers to extrapolate, interpret, and ornament. Last night’s music was spring-heeled and alert, subtle and elegantly attuned to the ever-changing moods of the characters and the mainly youthful band of singers also showed extraordinary command of the vocal idiom.
Although an ensemble opera, there are some characters whose place and import are crucial and here the production was graced with two extremely gifted and dramatically assured singers. The very experienced tenor Paul Nilon took on the title role of the wandering hero, twenty years away from his noble and loyal queen, Penelope, sung here by the richly voiced mezzo soprano Sara Fulgoni. Nilon showed his usual attention to text and detail and his great experience of the idiom, although he is far from being an early music only specialist. His quite soft-grained tenor is so characterful and expressive one sometimes forgets that he is singing, not speaking, yet when needed in moments of high drama such as the hero’s fateful shipwreck or final battle with his would-be usurpers, Nilon musters both thrilling power and heroic tone to great effect. Matching him in dramatic tone, Fulgoni gives us another sort of heroism: that of Penelope’s almost obsessive fidelity to her long-lost husband. Her mix of physical cool regality and warm dark passion simmering below was masterly.
The supporting 16 characters who weave their way in and out of the story, each displaying an aspect of the human (or divine) condition, were sung well and sometimes excellently so by this quite youthful cast - in fact the standard of both vocal and stage technique was so high that it was heart-warming to think that in the oft-maligned garden that is British opera there are many good young voices pushing up through to the sunlight of international success. Those that caught the eye on opening night included Sarah Tynan, soprano, as Melanto, Iestyn Davies, countertenor, as Human Frailty/Pisandro, and Ed Lyon, tenor, as Telemacho; the latter’s beautifully sung contemplation on the beauty and tragedy of Helen of Troy being particularly memorable.
For a first night, the production seemed to go extraordinarily smoothly, despite some complicated special effects and “sets within sets” whenever the divine but definitely lubricious gods and goddesses became involved, and this was perhaps a direct result of WNO’s declared aim to give its singers and musicians plenty of on-set rehearsal time. Peter Bellingham, WNO’s Executive Director, told me during the single interval that this was one of the greatest benefits of their move just 18 months ago from their old cramped premises to this beautiful, spacious new building, as they now had not only three separate rehearsal spaces for musicians, singers and chorus but also had access to all the sets and practical devices throughout the rehearsal periods. This writer can confirm that the audience is equally well served by an auditorium that frankly takes the breath away upon entering - it was akin to entering some great warm cave deep inside a mountain, its walls appearing carved from solid blocks of purple hued slate, separated by gently curving horizontal strata of gleaming wood that are the balconies and slips. What isn’t Welsh slate (strangely silky to the touch) is honey-coloured wood (the seats, floors, doors) or Welsh wool (traditional tweed upholstery to the seats). The overall effect is a kind of natural sumptuousness, a Celtic chieftain’s palace perhaps, far removed from the painted and gilded houses of London, Europe, and the USA. And even more important, the acoustic has a clarity and brilliance that, I’m told, singers and musicians appreciate and which translates to all reaches of the building.
As Welsh National Opera enter their anniversary season, they have here a new production, and a new house, that they can be proud to show the world. The stones are truly singing, and their horizons can only become wider.
© Sue Loder 2006
“Il Ritorno d’Ulisse in patria”, at the Millennium Centre, Cardiff on 23rd September and then on tour to Oxford, Llandudno, Birmingham, Bristol and Southampton.