Recently in Performances
For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
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