Recently in Performances
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers. Maître à danser, not master of the dance but a master to be danced to: there's a difference. Rameau's music takes its very pulse from dance. Hearing it choreographed connects the movement in the music to the exuberant physical expressiveness that is dance.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.
Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
28 Feb 2007
La Bohème – English National Opera
The death this month of director Stephen Pimlott could have cast a shadow over this revival of his 1993 production, but a hugely affectionate pre-show tribute by colleague Nicholas Hytner ensured that the performance only served to do great honour to the memory of a man who was clearly loved and cherished by many.
The first night of this revival, directed by Ian Rutherford, did the late director proud. Following a
triumph in the role on Glyndebourne’s 2005 tour, Peter Auty’s Rodolfo was physically and
vocally full of youthful ardour, while as Mimì, Mary Plazas combined the looks of a china doll
with the vocal warmth and personality of a flesh-and-blood young woman. Mark Stone’s
Marcello was masculine and glamorous, with every word projected clearly; there was real
passion in the ‘big moment’ when he takes up the melody in Musetta’s aria. Giselle Allen’s
portrayal of Musetta was quite remarkable, a young woman full of promise brought to her knees
by miserable poverty, and the exceptional bass Matthew Rose made much of his role as Colline,
creating a moment of stillness and awe with his Act 4 aria.
Musically the performance was not entirely successful. Conductor Xian Zhang had a mixed
evening with tempi which were at times so measured that they almost ground to a halt, but
seemed to have a particular affinity with Plazas in her arias, and as the tragedy reached its
conclusion, grew in expressive breadth. A balance problem between pit and stage in the first act
caused whole passages of solo singing to become inaudible, but this was seemingly addressed in
due course as the issue was no longer apparent after the interval.
However on stage there was diligent attention to detail; a piece of luxury casting found Robert
Poulton singing the dual roles of Benoit and Alcindoro, which he contrasted with two very
different styles of seediness. The crowded stage of Act 2 felt like a genuine public gathering,
with a particularly convincing children’s chorus; the simultaneous duets of Act 3 were
well-defined and audible alongside one another. A few minor anomalies in the production’s
updating to the mid-20th century can be forgiven in the overall scheme of a staging which
continues to feel immediate and ‘real’.
One would hope – and expect – that Pimlott would have been well pleased with this touching and
credible realisation of his enduringly popular production.
Ruth Elleson, February 26th 2007