Recently in Performances
After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
second city of Novi Sad on 27th October would be transplanted from
6th century BC Babylon to post-Saddam Hussein Tikrit or some
bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.
Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
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