Recently in Performances
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.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.