Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
06 Feb 2007
SHOSTAKOVICH: Lady Macbeth of Mtensk District (Kirov Opera)
The Kirov Opera and Orchestra concluded their annual residency at the Kennedy Center in Washington DC last week with a Sunday matinee concert performance of Dmitri Shostakovich’s 1932 Lady Macbeth of Mtsensk District.
Even unstaged, this powerful and disturbing work filled
with scenes of rape, humiliation, corruption, and murder felt almost too overwhelming to sit
through. Speculations of political pressure aside, it was not difficult to imagine, after being a
member of the audience, why the middle-aged composer would have felt compelled to rewrite
the work, curbing the raw violence of his X-rated early masterpiece down to at least a PG-13
rating (the new version, renamed Katerina Ismailova after the main character and premiered in
1963, was reportedly the composer’s favorite).
Conducted with savage intensity by maestro Gergiev, the Kirov Orchestra proved itself once
again one of the premiere ensembles in the world today, operatic or otherwise. Even the
premium-seat dwellers, well-schooled in the social etiquette that forbids applause until the end of
the piece (or in this case, until the intermission), erupted spontaneously into an ovation after the
breathtaking rendition of the 2nd tableau interlude. The conductor simply refused to hold his
orchestra back to accommodate the singers, and the power of volume alone was truly
earth-shattering – exactly the kind of effect Shostakovich’s uncompromising music demands. To
their credit, both the excellent chorus and most of the soloists withstood the competition
admirably. Unlike the previously reviewed Il Viaggio a Reims, which was a vehicle for the
relative novices at the Mariinsky Academy of Young Singers, this production involved the
premiere forces of the venerable Kirov stage. Larisa Gogolevskaya was spectacular as Katerina
the kupchikha (merchant’s wife), the only character in a cartoonish parade of degenerates for
whom, despite three murders in a space of four acts, the composer allows his listener to feel any
sympathy. Her gut-wrenching rendition of the Act 4 arioso is worth a special mention, as are her
confrontation scenes with her bully of a father-in-law Boris Timofeevich. Unfortunately, Alexei
Tanovitski in the latter role was not perhaps the best partner for Gogolevskaya: despite an
attractive sound and some good acting that won him approval of the audience, his voice lacked
the sheer strength necessary to match (and often overpower) Katerina and, in this particular case,
also to hold his own against the orchestra. Among secondary characters, Liubov Sokolova was a
gorgeously trashy Sonyetka, while an operatic veteran Gennady Bezzubenkov deserved his
applause as both a thoughtful Old Convict, and as a lecherous Priest whose profundo register
drew gasps from the hall.
Indeed, quite a few characters created by the singers made one long to see the opera staged, but
none more so than the two leading tenors of the production, Evgeny Akimov as Katerina’s
husband, Zinovy Borisovich, and Viktor Lutsiuk as her lover, Sergei. At the beginning, it made
little sense to me that Lutsiuk would be given the role of Sergei, who as a mock operatic lover
does a lot of powerful singing throughout the opera, while Akimov, an obviously stronger singer,
would be cast as Zinovy, a weakling who barely gets two scenes in before being dispatched into
the next world (and down into the cellar) by his wife. As the production progressed, however, I
came to appreciate this brilliant piece of operatic casting. Lutsiuk’s Sergei was deliciously
disgusting; his voice, figure, gestures, and facial expressions virtually oozed slime. Meanwhile,
having Akimov, a powerhouse tenor with a ringing metallic timbre, portray an insecure,
impotent, pathetic little man brought forth an equally delicious irony of all style and no
The performance of Lady Macbeth of Mtsensk District closed a rather unusual tour for the Kirov
this year: the company eschewed heavy Russian drama for two Italian comedies, Rossini’s Il
Viaggio a Reims and Verdi’s Falstaff. While the Shostakovich provided a taste of the former, the
tour as a whole reminds us once again that the Kirov is capable of much more than the Philips
Russian opera recordings, great as they are. Indeed, Gergiev’s troupe seems determined lately to
defy any possibility of being viewed as an example of parochial exotica, and wants to be seen
instead as the first-class European opera theater that it is. Whether or not one loves their Italian
(or their German, for that matter – speaking of the Cardiff production of the Ring Cycle reviewed
recently on this site), the Kirov is no longer just a “Russian theater.” As a new resident of the
Washington DC area, I look forward to whatever the next five years of the company’s residency
here bring. And of course, I will keep you posted!