Recently in Performances
Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
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