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Florilegium, Wigmore Hall

During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704). The work of these three composers may be less familiar to listeners, but Florilegium revealed the musical sophistication - under the increasing influence of the Italian style - and emotional range of this music which was composed during the second half of the seventeenth century.

Leoncavallo: Zazà - Opera Rara

Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà - a chanteuse raised from the backstreets to the bright lights - is a walking compendium of emotions. Ruggero Leoncavallo’s eponymous opera lives by its heroine. Tackling this exhausting, and perilous, role at the Barbican Hall, The soprano Ermonela Jaho gave an absolutely fabulous performance, her range, warmth and total commitment ensuring that the hooker’s heart of gold shone winningly.

L'ospedale - an anonymous opera rediscovered

‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.

Šimon Voseček : Beidermann and the Arsonists

‘In these times of heightened security … we are listening, watching …’

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.

Morgen und Abend — World Premiere, Royal Opera House

The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.

Company XIV Combines Classic and Chic in an Exquisite Cinderella

Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.

Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.

Great Scott at the Dallas Opera

Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.

Schubert and Debussy at Wigmore Hall

The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.

La Bohème, ENO

Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.

Luigi Rossi: Orpheus

Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).

64th Wexford Festival Opera

Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.

Christoph Prégardien, Schubert, Wigmore Hall London

Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .

The Magic Flute in San Francisco

How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.



Bartered Bride at Baltimore Lyric Opera
07 Apr 2007

A bride for sale at the Baltimore Lyric

The latest offering from the Baltimore Lyric Opera was Bedrich Smetana’s sparkling comedy Prodana Nevesta (“Bartered Bride”), a little gem of Czech Romantic nationalism that one does not see live very often these days.

The occasion not only ensured a packed house at the premiere, but also drew attention of the local chapter of the Czech-Slovak Heritage Association. Its members, in national costumes, attended en masse, making for a colorful and slightly surreal theater lobby.

Among the production’s international cast, Dana Buresova’s Marenka appropriately enough turned out to be the true star of Smetana’s charming little village. The Czech soprano laughed, pouted, and schemed her way triumphantly through the evening, and fully deserved her standing ovation at the end of it. The singer’s voice was strong, pure, and even in all registers; it carried easily, and she even thrilled the audience with a couple of impressive – albeit not entirely necessary in Smetana’s score – high Cs. The only thing of which I could not quite approve in this Marenka was her taste in men, for between the two sons of the honorable Tobias Micha (portrayed honorably by Ukrainian-Canadian bass Alexander Savtchenko) I might have chosen the younger one. American tenor Doug Jones offered an engaging and endearing portrait of the stammering village fool Vasek, and in the process revealed not only a lovely lyric tenor voice, but a genuine comic gift. Meanwhile, contrary to my own expectations, I was not that impressed with the heavily advertised talents of the Czech tenor Valentin Prolat as Jenek. Prolat wowed the audience sufficiently in a couple of powerful scenes in which his strong high register was impressively on display; he acted well, and blended very sweetly with Marenka in the duets, but far too often his sound felt somehow “switched off,” making it difficult to be completely satisfied with his performance.

Despite at times sounding a little thin (particularly in the string section), the orchestra was excellent, conducted impeccably by yet another Czech import, Oliver von Dohnányi. Throughout the performance he kept good balance, asserting his presence but letting the singers dominate as they should in a score such as this one. The tour-de-force of an overture (those unfamiliar with the music should imagine the fugue from Zauberflöte mixed with Mendelssohn’s elves at three times the speed) was particularly impressive – vigorous and energetic, yet clean and rhythmically precise.

Rheinhard Heinrich’s décor took a fold-out children’s book as inspiration, creating a set of white-and-brown cardboard dollhouses (with removable front walls allowing one to see their interiors) that were “folded” in and out throughout the performance in full view of the audience. Unfortunately, this clever and efficient design proved much too bulky for the small stage of the Baltimore Lyric, which made for an uncomfortably crowded marketplace with close to forty choristers on stage trying (not always convincingly) to approximate a polka. The Act 2 furiant turned out much better, as the space dilemma was resolved by sidelining the chorus and leaving what was left of center stage to three pairs of professional dancers.

The stage director, James McNamara evidently found The Bartered Bride, a slow-moving number opera, to be a challenge, and his approach was somewhat a stylistic mixture. Most scenes were staged realistically and packed full with stage business, perhaps too aggressively at times (e.g., while distraught Marenka was pouring out her heart into an opening “Where are you from?” aria, oblivious groom-to-be Jenek busied himself with first breaking and then fixing a wooden stool he had first conveniently dragged out of a nearby house). Meanwhile, several key numbers for the principals were presented as cinematic close-ups, with lights dimmed, soloists spotlighted (Jenek’s Act 2 aria was even performed in front of the lowered curtain), and “stage realism” suspended in favor of slightly old-fashioned symbolism, Hollywood-style. Not that the staging solution for each specific scene was necessarily unsuccessful (although I do take exception to the Act 3 sextet – a comic family disagreement made to project supernatural terror), but at times I found myself wishing that the director would just make up his mind.

To the audience, however, one of the most memorable moments in the whole production was undoubtedly the circus scene. Taking cue from the geographical provenance of the Indian and the fake grizzly bear, McNamara decided to turn the entire troupe, introduced by the (deliberately?) out-of-tune trumpet fanfares, into a Wild Wild West show. The Circus Master, sporting a Texas accent and a cowboy hat, resurrected for this occasion the spoken dialog tradition from the first version of Smetana’s score, although I doubt that the text of his opening announcement would have been recognized by the composer. Among other things, everyone in this original-language production were suddenly speaking English, including the chorus that reacted with evident comprehension to the Circus Master’s advertisement, and Vasek who during his comic attempts to woo the dancer Esmeralda somehow managed to lose his Czech if not his stammer. The public was treated to a parade of jugglers, acrobats, clowns on stilts, a grunting Indian, a bearded lady weightlifter, and a badly trained but brightly costumed dog (yes, a real one) that jumped through one large hula hoop, missed the other, but would have its chance at a curtain call nonetheless...

After a fashion, the misadventures of the circus mirrored the fortunes of the larger show of which it was a part. The bride was sold with some panache, a few unfortunate accidents, and some questionable decisions that warranted raised eyebrows from the purists such as myself. Yet, at the end of it all, Baltimore Lyric did manage to put on a good show – and fundamentally, a good show is what opera production is all about.

Olga Haldey

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