Recently in Performances
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
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