Recently in Performances
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.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
28 Jan 2007
ROSSINI: Il Viaggio a Reims
Rossini’s last Italian opera, staged in 1825 as a part of Charles X’s coronation festivities, is a bizarre creation — a sassy little farce capped with a coronation cantata in the best traditions of staged court entertainment, from 16th-century Italian intermedi through their Baroque and Classic operatic progeny.
This production, a combined effort of the Kirov Opera and Théâtre du
Châtelet, was premiered in 2005, and has made its way to the Kennedy Center in Washington DC
as a part of the Kirov’s residency here, now in its fifth year.
Minimal staging (sets by Pierre-Alain Bertola) strips the “Golden Lily Hotel” to its scaffolding,
revealing the opera for what it truly is — a collection of sparkling vignettes with hardly a
semblance of a plot; a glorious divertimento; a concert in costumes — but what fabulous
costumes! Among costume designer Mireille Dessigy’s creations, not to be missed are the
Contessa de Folleville’s outrageous hats and Corinna’s ancient regime version of fuzzy slippers.
The Russian general’s garb complete with a sailor’s tunic and a white horse (yes, an actual —
and impressively well-behaved — animal) is hilarious. As for Corinna’s entrance costume,
capped with a fantastic feather turban and illuminated from within by flashing electric lights, it is
beyond description, and would surely land some Hollywood star enterprising enough to steal it a
place on the “worst dressed, yet most memorable” red carpet list. The “English golf dandy” outfit
of Chevalier Belfiore, on the other hand, was funny but not particularly convincing.
The Kirov’s performance started well before the opera began, with the orchestra players (with
their instruments) and singers (with their luggage) making their way to the “hotel” from the
auditorium, greeting the audience in two languages (none of them Italian), and then negotiating
stage space with the “cleaning crew,” mops and vacuums in hand. The conductor — maestro
Gergiev himself — did not carry a suitcase, was relieved of his coat by one of the choristers, but
would keep his hat on throughout the evening. Both the conductor and the orchestra (dressed in
white and reduced almost to a chamber group for the occasion) were positioned on stage, with a
harpsichordist placed on the proscenium and dressed up in full ancient regime regalia, complete
with high heels and a powdered wig. Similarly dressed was a harpist wheeled onto the stage on a
special platform whenever her services were required to accompany Corinna the poetess (the
lovely Irma Gigolashvili); and a fabulous flutist (unfortunately not identified in the program) who
performed her second act solo flawlessly, all the while engaged in a clever pantomimed “duet”
with Lord Sydney (Eduard Tsanga).
Throughout, the production (directed by Alain Maratrat) was filled with stage business — always
energetic, often clever, and occasionally detrimental to sound production: for instance, practically
nothing performed on the back section of the scaffolding (behind the orchestra) made it into the
hall. On the other hand, plenty of singing (and some very funny acting) occurred in the orchestra
— among the orchestra seats, that is. This clearly delighted the audience but presented a
significant challenge to ensemble performance — a challenge that the young troupe, to their
credit, met and triumphed over, even in the lightning-fast stretti. Overall, the vocal performance
of the young cast, including some tremendously difficult passagework, was almost uniformly
superior: Anastasia Kalagina as Madame Cortese impressed with the precision of her coloratura;
Larisa Yudina as the Contessa proved herself a comic talent, yet was ever ready with those
breathtaking E-flats. Dmitry Voropaev as Belfiore, Daniil Shtoda as Count di Libenskoff,
Vladislav Uspensky as Baron di Trombonoc, and particularly Nikolay Kamensky as basso buffo
Don Profondo were all excellent. Anna Kiknadze as Melibea was less impressive, but she did
occasionally enjoy her moments of glory (unfortunately, the final polonaise was not one of those
moments). Only Alexey Safiulin as Don Alvaro was truly disappointing: he did well in the
ensembles, but the solos — including the gorgeous “fake flamenco” song Rossini had smuggled
into the grand finale — were almost entirely lost. The chorus — members of the Mariinsky
Academy of Young Singers — acted lustily and sang well; the orchestra sound was clean, crisp,
and tastefully “classic” — in fact, barely recognizable as coming from an orchestra better known
for the sweeping romantic sound of its Tchaikovsky and Wagner productions.
Grand drama devotees might find Il Viaggio a Reims annoyingly fluffy. Opera purists could
object to the coloratura occasionally getting lost in the stage business or covered with the
audience’s laughter. Yet, to those who think of opera as primarily a theatrical spectacle, the
Kirov production proves deliciously watchable. It is just what King Charles X of France had
ordered from his favorite composer — a splendid and frivolous piece of entertainment for a very