Recently in Performances
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
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!