Recently in Performances
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
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