Recently in Performances
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
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!