Recently in Performances
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.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
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