Recently in Performances
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
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!