Recently in Performances
Most opera professionals, including the individuals who do the casting for
major houses, despair of finding performers who can match historical standards
of singing in operas such as Aïda. Yet a concert performance in Aspen
gives a glimmer of hope. It was led by four younger singers who may be part of
the future of Verdi singing in America and the world.
One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.
Three years ago I made what may have been my single worst decision in a half
century of attending opera. I wasn’t paying close attention when some
conference organizers in Aix-en-Provence offered me two tickets to the premiere
of a new opera. I opted instead for what seemed like a sure thing:
William Christie conducting some Charpentier.
Advertised in the program as the first opera written in the New World,
La Púrpura de la Rosa (PR) was premiered in 1701 in Lima
(Peru), but more than the historical feat, true or not, accounts for the
The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.
Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.
As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.
Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.
Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.
That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.
Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.
This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.
John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.
On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.
Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.
It might seem churlish to complain about the BBC Proms coverage of Pierre
Boulez’s 90th anniversary. After all, there are a few performances
dotted around — although some seem rather oddly programmed, as if embarrassed
at the presence of new or newish music. (That could certainly not be claimed in
the present case.)
I recently spent four days in St. Petersburg, timed to coincide with the
annual Stars of the White Nights Festival. Yet the most memorable singing I
heard was neither at the Mariinsky Theater nor any other performance hall. It
was in the small, nearly empty church built for the last Tsar, Nicholas II, at
As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.
A brilliant theatrical event, bringing Handel’s theatre of the mind to
life on stage
‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.
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