Recently in Performances
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
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