Recently in Performances
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on
Friday night was the latest in the Coliseum’s recent run of new and
co-produced productions, and also renowned director Peter Jones’ latest foray
into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the
same arts festival in Coventry for which Britten’s War Requiem was
written and in fact the two works have something in common, dealing with the
issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s
Die Fledermaus several debuts are notable to both American and Chicago
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera
House risks laying the house’s Director of Opera open to charges of
antiquated mores and misogyny: for he seems to suggest that the women are just
as bad, if not worse, than their seducer — and that a soulful man who seeks
genuine love is likely to find his ‘ideal beloved’ forever out of reach.
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
If satire is your thing you will not want to miss this opera about human testicles grafted onto a dog.
25 Mar 2007
MOZART: Die Entführung aus dem Serail
With the trials and tribulations of a multicultural society currently at the forefront of the British media, Gavin Quinn’s production placed a light-hearted focus on the bizarreness of a group of foreigners being thrown together in an unfamiliar situation.
Often stereotypes were cleverly turned on their head, with the seraglio-dwellers proving more modern and progressive than their western guests; Selim’s many wives accessorised their (reasonably) traditional Muslim dress with snazzy sunglasses, while the main quartet of lovers were in full period costume.
Each singer was allowed to keep his or her real accent, so there was a very Welsh Osmin, a Mancunian Pedrillo, and Blonde was even written formally into the English translation as an Australian girl. The youth and freshness of the cast allowed for further jokey concessions to the modern world; Pedrillo’s instrument of choice for the serenade was a brightly coloured electric guitar.
The dialogue fell victim to excessive cuts, which meant that the characters (especially Konstanze) remained a little sketchily drawn – and the break for a single interval after “Martern alle Arten” was misplaced.
Musical values were notably high, with energetic and bright conducting from Gary Cooper. Hal Cazalet sang Belmonte with a free, easy tenor which was never under pressure; Joshua Ellicott’s slightly weightier voice was no less attractive and he displayed considerable comic talent as Pedrillo. Elizabeth Donovan found herself taxed by some of Konstanze’s very highest sustained tessitura, but played the role with assurance and serenity; Lorina Gore’s no-nonsense Blonde sang with complete vocal security. Sion Goronwy’s lumbering Osmin had some terrific low notes; physically he towered above the rest of the cast, giving rise to much visual comedy. The ensemble work was excellent.
Richard Jackson’s Selim was a puzzle; there didn’t seem to have been much directorial thought given to his place in the context of the drama, and he was somewhat lacking in stage presence. Otherwise, the dramatic and comic rapport between characters was strong and well-developed.
Mauricio Elloriaga’s set was simple, consisting of shifting panels – ideally designed for maximum versatility in a touring production; the background and costumes were in cheerful candy colours.
Ruth Elleson © 2007