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.
18 Feb 2007
Opera North: Breathing new life into “Orfeo”
Friday night in Leeds, in the North of England, at the city’s marvellously restored Grand Theatre, with the pavements outside shining wet and a tidal wave of umbrellas surging past, was an
exciting place to be.
I was lured by England’s only national company outside of London, a new
production by Christopher Alden of Monteverdi’s seminal masterpiece, and a debut in the role
for one of England’s most talented yet under-rated tenors: Paul Nilon. Not one of the three
Opera North is on a roll at the moment; it has a beautiful old theatre as its home, decorated in a
palette of deep red, green and gold, not to mention some fabulous original Victorian tiling now
exposed again in all their glory, and is planning even more work in a Phase Two to bring back to
life the adjoining Assembly Rooms as another rehearsal and performance space. Aligned to
these physical plans is their continuing commitment to challenge preconceptions of opera,
advocating lesser-known works (later this season they are presenting Kaiser’s “Croesus”) and to
breathe new life into the classics. You don’t get very much more classic than the opera that
virtually invented the art-form, and Christopher Alden has most decidedly set out to challenge a
few well-worn notions of this favola in musica.
First of all, the evening’s staging is seamless and without interruption by interval which makes
for a long sit — some one and three quarter hours. Secondly, Alden gives us just one
physical location with no traditional “descent” into Hades, no Styx, no dark and flaming scenes
or flying deities. As the curtain rises we are taken to a large room — possibly a palace or
ducal space — floored, walled and canopied in a kind of giant parquet wood effect in
shades of brown. The costumes are non-specific modern: jeans or dresses with Tudor touches in
the form of the occasional ruff or slashed velvet doublet. A few high niches in the side walls are
the only entrances and exits for a necessarily agile cast of singers — each niche must have
been at least four feet from the boards. Apart from that, just an array of sofas and easy chairs
provided visual detail and a base for the assembly of singers who in turn played the wedding
guests, the chorus, the Furies and, the audience. Audience? Yes, in a way they were just that,
for in this production Alden and Nilon combine their talents to persuade us that this is not Orfeo
as hero, great lover or mystical muse; rather, he is Orfeo the Artist, the Performer, and subject to
all the angst therein. His great aria Possente spirto is delivered in the form of a nervous singer
giving an audition, complete with hastily-erected music stand, shaking hands and despairing
glances at an unmoved Caronte. Equally challenging to the paying audience was the way Alden
played with our expectations of the ill-fated Eurydice: she seems anything but delighted to be
marrying Orfeo, more than happy when dead, and — a typical Alden touch — when
masking-taped to a wall to denote her passage into the Underworld she is transmogrified into the
character of Speranza who encourages Orfeo to convince the infernal gatekeeper Caronte to let
him follow his love. Caronte spends his time sitting in one of the ubiquitous armchairs,
apparently reading the Obituaries column of the Times. A nice touch.
For some in the first night audience (a gratifyingly full house) these ideas pushed them out of
their comfort zone; but even if Alden’s love-affair with masking tape (used not only to fix poor
Eurydice upright to a wall, but also to delineate Pluto’s kingdom and occasionally confine Orfeo)
irritated some, then there could be no argument with the quality of the music making. Quite
simply it was fine, idiomatic, and intensely stylistic throughout without ever making the mistake
of sounding overly “old” or pedantic. Chris Moulds directed a twenty-strong period band, each
element of which accompanied different characters, different “affects”, in different parts of the
story — recorders, cornets, sackbuts and harp adding a rich sonority to the strings and
Of the singers, Paul Nilon of course has to carry much of the opera. This was his first attempt at
the character, which is surprising when one considers his great experience in baroque and
classical roles, but he rose to the challenge and indeed threw down another to singers currently
regarded as masters of the role. Nilon is superb when portraying disturbed or emotionally
tangled psyches — his Grimoaldo in Handel’s “Rodelinda” springs to mind. His Possente
Spirto e formidabil Nume, the great central pivot of the opera, was superbly sung, superbly acted.
If it lacked the icy elegance of an Ainsley or Bostridge, in the context of this production’s most
human of heroes, it convinced entirely. The desperation, the hope, the desire of every performer
to please an audience, in this case the implacable gatekeeper, was in every note and gesture of
this intensely written tour de force for the human voice.
The supporting roles were all consistently well sung and acted — Anna Stephany as
Eurydice/Speranza is fulfilling her promise as a young English singer to watch, her voice full and
coloured, nicely differentiated between the roles. Among the other female voices, Ann Taylor in
the dual roles of La Messagiera and Prosperina had a glorious bloom to her voice, and an
amusing stage presence when required. The minor male roles were equally consistent in quality
of singing — standouts last night being basses Graeme Broadbent (a cavernously voiced
Caronte), and Andrew Foster-Williams (a rather amusingly disinterested and randy Plutone).
There were no obvious vocal weak links and this alone is a testament to the strength in depth that
Opera North can command at present.
This quality was not lost on the local audience or guests: at the end of the performance there were
warm ovations for all concerned, well-deserved cheers for our Yorkshire-born Orfeo — and a
few cheerfully-received boos for the director. Certainly one can pick holes in some of the
director’s conceits in this production: the eliding of Eurydice’s rescue and second death for
instance, but safe to say both Alden and Opera North have upheld their avowed traditions in fine
© Sue Loder 2007