Recently in Performances
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
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