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.
19 Mar 2007
Angela Gheorghiu, Los Angeles
A near-capacity audience, expectant and enthusiastic, streamed into the Dorothy Chandler for an old-fashioned evening of operatic glamour, as Angela Gheorghiu, with the Los Angeles Opera Orchestra in support, flew into town for a one night concert.
The soprano delivered on the
glamour big-time, with three gowns, glittering jewelry, and a happy, even flirty manner. She sang
beautifully too, if without the total captivation of her physical presence.
French music comprised the first half of the evening, with Eugene Kohn leading the orchestra in
a bumptious “Rakoczy March” from Berlioz’s Damnation de Faust. The musicians seemed to
need more warming up than the vocalist; the horns in particular struggled, possibly due to their
recent exertions with the LAO’s run of Tannhäuser.
Gheorghiu swept on in flaming red, and the ovation that greeted her spoke to the impression she
made with local audiences in her previous appearances with the company, as Nedda and Mimi.
She launched into the so-called “Jewel song” from Faust, a number that spotlights her easy,
bright top. Next was the program’s one rarity, “Pleurez, pleurez, mes Yeux,” from Massenet’s
El Cid. Though not the composer’s most memorable tune, the piece has enough dramatic
crescendos and darker passages to contrast well with the Gounod aria. After a gown change and
the orchestra’s tepid run-through of the Béatrice et Bénédict overture, Ms. Gheorghiu reappeared
and sang a tender “Adieu, notre petite table.” The first half ended with Ms. Gheoghiu’s
somewhat controversial essay into Carmen, but for a recital, her “Habañera” succeeded
wonderfully. She took a light-hearted approach, playful more than siren-ish, and the aria’s range
seemed to suit her well.
The second half went to Italian composers, with Kohn choosing the Mascagni overture to Le
Maschere, an unsubtle but fun piece. Gheorghiu’s Puccini Manon had a real poignance in “In
quelle trine morbide.” Then she offered one of her specialities, “Chi il bel sogno di Doretta,”
another opportunity to display her lovely top notes. She left for another gown change, and Kohn
led the orchestra, finally sounding like the excellent group that has played for James Conlon
recently, in Verdi’s overture to Les Vêpres Siciliennes. Now clad in glamorous black, with a sort
of spider web motif, Gheorghiu sang Forza’s “Pace, pace, mio dio” and closed the second half
with “Un bel di.”
These last two pointed up the relatively soft volume of Gheorghiu’s middle voice. She can be
heard, even in a larger hall such as the Chandler, but it is not until the vocal line takes her higher
that the voice has real force. Nevertheless, this listener would not trade the warm textures of her
middle voice for a pushed sound.
So a rapturous audience called Ms. Gheorghiu back for several encores. Ironically, it was in the
Lerner-Loewe “I Could have Danced All Night” that Ms Gheorghiu’s softer approach teased the
ears a bit too much, but her irresistible delight in performing the song could not be denied. She
treated the crowd as well to a Romanian song, to “Granada” and Puccini’s “O mio babbino caro,”
and finally to “Non ti scordar di me.” She then grasped the first violinist by the hand, and led the
musicians off the stage.
A delightful evening, but one that might have left some listeners eager for some heavier fare.
Perhaps on her next visit, Ms. Gheorghiu will offer a program of more challenge. And one gown
will do fine.