Recently in Performances
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
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.
25 Apr 2007
Handel Singing Competition Final – London April 23rd
Once again, George Frederick Handel’s old stamping ground of St. George’s Hanover Square, London, resounded last night to the sound of his music as aspiring young singers from all over
the world fought out the Final of the London Handel Singing Competition.
Year on year the
competition’s status has grown and this was reflected last night in both the quality of the singing,
and the quantity of audience there to listen – the place was packed with keen Handelians of all
ages, music agents, directors and critics. Some sixty original young performers had started out
on the audition and knock-out rounds, so the final six singing last night had made it through
against considerable opposition and it showed. What was perhaps most interesting of all was
perusing the contestant’s resumés and noting that two came from Australia, one from South
Africa, one from Portugal and one from Eire.
As with all competitions, what the judges are looking for is not always what is appreciated most
by the audience, but at least the London Handel one acknowledges this with both 1st and 2nd
prizes and also an Audience Prize, given to the singer who gains the most votes in a quick-fire
ballot taken immediately after the singing stops. Last night overall victory went to the only
baritone singing, Derek Welton, the possessor of a fine, robust instrument who concentrated his
fire on shorter oratorio and anthem pieces, with only one excerpt from an opera. His singing was
focused and exact and technically very secure, his wider experience showing, even if he was
rather wooden in his character portrayals. At the other end of the male vocal scale, and
receiving the 2nd prize, was the countertenor Christopher Ainslie who conversely concentrated
on Handel’s great arias for castrato from Serse, Orlando and Tamerlano. His rather elegantly
“English” voice, although slightly covered at times, was complemented by a pleasing stage
presence and flair for interpretation. For the ladies, it came as no surprise when the Audience
Prize was bestowed on the charming Irish soprano, Anna Devin. Her strong interpretive skills
were matched by a strong, secure technique and beautiful vocal tone and she shone in her two
arias from Alcina and Giulio Cesare.
The losing competitors had nothing to be ashamed of – they all sang with credit and commitment
and with great promise for the future: Gilliam Ramm, Joana Seara, sopranos and Julia Riley,
mezzo-soprano. The first named had a big voice, perhaps lacking a little in Handelian style but
impressive nevertheless, Seara from Portugal sang with delightful delicacy and precision, without
too much power however, and Riley seemed to suffer a little from nerves and a rather odd choice
of repertoire in her first items which hardly showed her voice off as they might. Her final aria
from Ariodante showed glimpses of what she may be capable of in time.
As usual all the young singers were accompanied by the very supportive and elegant London
Handel Orchestra, guided by Laurence Cummings.
© Sue Loder 2007