Recently in Performances
Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
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