Recently in Performances
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
23 Jan 2007
OONY Gives Rare Performance of Rossini's Otello
There are three reasons often cited for the paucity of performances of Rossini’s Otello: the horrible hack job of the Shakespearean drama by librettist Francesco Maria Berio, the difficulties in casting an opera requiring at least three top-rate tenor voices, and comparisons with Verdi’s popular opera of the same title.
Though these arguments hold much weight, they also have little
to do with Rossini’s expressive and thoroughly enjoyable score, as was evident in the Opera
Orchestra of New York’s concert performance of the work on Wednesday night at Carnegie Hall.
Shakespeare’s work was not as well-known in northern Italy at the time of the opera’s
composition, perhaps accounting for the free treatment that the story received. Berio’s retelling
of the classic tale makes such a mess of things that there is little left of the original drama but the
names of the characters. Lord Byron wrote of the opera in 1818: “They have been crucifying
Othello into an opera,” and in my mind he spoke the truth. Indeed, the story never leaves the
shores of Venice, the signal handkerchief becomes a furtive love letter, Desdemona is stabbed
rather than strangled, and Jago’s role in the drama is lessened while the peripheral Rodrigo
Regardless, the work was hugely successful in the nineteenth century, its popularity lasting until
Verdi’s Otello overtook it in the operatic canon. I would posit that the inevitable association of
the two works is the principal reason that Rossini’s now lesser-known interpretation has fallen
into obscurity as much as it has. Comparisons inevitably paint the earlier in a bad light by virtue
of its much-maligned libretto.
Seen as the product of Rossini, the work is well worth its weight in gold. There are some truly
beautiful moments, though it admittedly lags a bit in the middle. The opening, for instance,
features not one, not two, not even three. . . but FOUR solo tenors singing their hearts out in one
of the most exciting moments of tenor multiplicity in the repertoire. The Act Two confrontation
between Otello and Rodrigo is also a moment of high drama, and Desdemona’s Willow Song is
as hauntingly beautiful as is the more widely-known Verdi version.
The night also belonged to the performers that realized the impossible and sublimely beautiful
bel canto score, for the work cannot stand on its own without talented virtuosos. In fact, this
opera has always been at the mercy of willing and able singers; an abundance of virtuosic tenors
in Naples precipitated the composition of myriad vocal fireworks for the tenor voice. The cast
was led by veteran Rossini interpreter Bruce Ford, a last-minute stand-in for Ramon Vargas.
Ford sang a lot of notes on Wednesday night, all with confidence and ease. Equally impressive
was Kenneth Tarver as Roderigo, whose lyricism and light touch complemented the role. His
high-lying aria, Ah, come mai non senti, was one of the best moments of the night. Solid too was
Robert McPherson as the villainous Jago. His voice was that much louder, harsher than his
colleagues’— well-suited for the antagonist. In the men’s camp it would be remiss not also to
mention Gaston Rivero as the Doge (and later as the Gondolier), the fourth component in the
The preponderance of tenors on the stage precludes any solo female voices for the first half hour
of the work. Furthermore, in a seemingly concerted effort to keep the tessitura of the ensemble
in the human voice’s middle range, the role of Desdemona is written for a mezzo. When we
finally meet Desdemona, she remains a peripheral character — there is no entrance aria for her,
nor is there ever a love duet. Ruxandra Donose nevertheless sang the role beautifully, and the
impassioned Willow Song was the crown jewel of the concert.
If there was a drawback to the performance, it would be that the orchestra was not prepared, and
perhaps more to the point, unenthused about the performance. It is eternally difficult to create
cohesiveness in an opera orchestra, especially one that performs together only a few times per
year. Still, the group was sloppier than most: brass instruments fracked, there was at least one
blatant wrong note, and entrances were not together. On the other hand, the members of the
orchestra performed solos beautifully. The virtuosic instrumental passages typical of Rossini
were right on, and harpist Grance Paradise, Desdemona’s partner in the Willow Song, was as
stunning in the aria as the mezzo.
So hats off to Eve Queler and the Opera Orchestra of New York, for performing such an
undervalued work. Queler has long been a champion of lesser-known opera, and her choice of
programming here was excellent. Carry on Ms. Queler!