Recently in Performances
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
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