Recently in Performances
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
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!