Recently in Performances
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
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