Recently in Performances
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
28 Mar 2007
Camacho’s Wedding (Die Hochzeit des Camacho)
UC Opera now have a half-century’s reputation to live up to; they were responsible for the UK premieres of such works as Das Liebesverbot, The Maid of Orleans, Alzira, Oberto and the 1847 version of Macbeth.
unquestionably a need for a company such as this on London’s operatic
scene; they continue to fly the flag for works which would not otherwise be
performed, and are almost unique in offering these obscure works in staged
performance rather than in concert.
The company exists independently of the academic functions of University
College London, which does not even have a music department; instead the
company draws its large and enthusiastic amateur chorus, orchestra and lesser
principals from the University College Union Music Society, and hires in
young professional artists for the leading roles – alumni include
Felicity Lott, Robert Lloyd and Jonathan Summers, and Charles Mackerras
served briefly as Musical Director during the 1950s.
Die Hochzeit des Camacho was written by Mendelssohn between the ages of
fourteen and sixteen. It is a lively, folksy comic opera based on an episode
from Don Quixote, about a conspiracy on the part of the young and amiable
Basilio to save his beloved Quiteria from a forced marriage to the wealthy
but unprepossessing Camacho. After many complications, some largely pointless
interventions by Don Quixote and Sancho Panza, and a faked suicide, Basilio
gets the girl; her father and Camacho accept their union and all live happily
The production, by Duncan McFarland, was set in the context of a bedtime
story being told to a young boy (Oliver Kirk) by his nurse (Liz Lea). This
gave the feel of a cosy Christmas family movie. Christopher Giles’s set
was simple but imaginative and versatile, with three brightly-coloured moving
wooden huts transforming the stage from the child’s nursery into all
manner of different locations. There were bright, attractive costumes for the
young cast too.
The opera was sung in English, and the best individual performances came
from two fine tenors – medical student Hal Brindley gave a strongly
sung and charming account of Basilio’s sidekick Vivaldo, while
postgraduate linguist James Crawford gave an excellent characterisation of
the eponymous Camacho (really quite a minor role). Stephen Brown’s
Basilio and James Harrison’s Carrasco (Quiteria’s father) also
sang well; Håkan Vramsmo’s Sancho Panza was likeable and smoothly sung.
But elsewhere there were problems; Margaret Cooper’s Quiteria was
strong in the upper register but weak in the middle; her conventionally
operatic soprano was inadequately balanced by Sarah Rea’s treble-like
Lucinde. The veteran professional bass Deryck Hamon was seriously stretched
in the role of Don Quixote. Projection of dialogue was problematic for
professional and amateur soloists alike; sometimes the singing was inaudible
too. The chorus was excellent, but the biggest problem was the orchestra, an
amateur ensemble, whose timing and tuning were simply painful at times
despite Charles Peebles’s poised and well-phrased direction.
This is the fifth UC Opera production I have seen, some with high musical
standards. This was far from the best. Perhaps they will fare better in 2008
with Lalo’s Fiesque.
Ruth Elleson © 2007