Recently in Performances
All told, this was probably the best Don Giovanni I have seen and heard. Judging opera performances - perhaps we should not be ‘judging’ at all, but let us leave that on one side - is a difficult task: there are so many variables, at least as many as in a play and a concert combined, but then there is the issue of that ‘combination’ too.
Can one justly “review” a streamed performance? Probably not.
But however different or diminished such a performance, one can—and
must—bear witness to such an event when it represents a landmark in the
evolution of an art form.
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.
28 Feb 2007
Nicole Cabell, St John’s Smith Square, London
The Rosenblatt Recital Series, which presents concerts around London from artists ranging from the well-known to the brand-new, last week showcased Nicole Cabell, the glamorous 29-year-old winner of the 2005 Cardiff Singer of the World competition.
Accompanied by pianist Simon Lepper, the American soprano tackled an impressive variety of
repertoire. Her greatest strengths, it seems, lie in poetry and contemplative song. Three Liszt
songs – ‘Es muss ein Wunderbares sein’, ‘Die Lorelei’ and ‘Enfant, si j’étais roi’ – held the
audience spellbound as the voice seemed to become one with the accompaniment and indeed the
piece. Later in the concert, Ben Moore’s Keats setting ‘Darkling I listen’ created a similar magic.
Yet in two Puccini favourites – ‘Quando me’n vo’’ (one of Cabell’s calling cards) and ‘Chi il bel
sogno di Doretta’ — her tone was monochrome and there was little sense of character portrayal.
‘Padre, germani, addio’ from Idomeneo was imbued with urgency, while Bolcom’s ‘Amor’, was
delivered with mischievous sparkle and wit. However in Gounod’s ‘Je veux vivre’ and (as an
encore) Puccini’s ‘O mio babbino caro’, Cabell failed to set the hall alight, despite an unfailing
sense of style and poise; her elegant, sophisticated presence just did not sit well with teenaged
heroines, nor with the child subject of three songs from Bernstein’s ‘I hate music’.
In other offerings from American music theatre, Cabell proved herself as an entertainer; she
struck just the right balance between schmaltz and musicality, a rare gift when presenting a
mixed recital programme to a largely classical audience.
This was by no means a flawless recital, and perhaps the variety of repertoire was simply too
great. Cabell’s Liszt interpretations alone proved her to be a young artist of exceptional promise;
perhaps next time she should focus on such a strength and present it to the best of her ability.