Recently in Performances
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
31 May 2007
Death in Venice at ENO
Deborah Warner’s new production of Death in Venice is ravishingly beautiful, with stunning lighting designs by Jean Kalman who manages to capture the spirit of every facet of Venice and of the drama’s more general themes, from the misty eeriness of Aschenbach’s first gondola ride through to ominous darkening skies and blazing sunsets.
Against this backdrop, Ian Bostridge’s Aschenbach is vocally extraordinary, using his unique
other-worldly voice to its best sensual advantage in response to this man’s yearning for the ability
to be a part of the beauty of his surroundings.
But there is always a sense here that Aschenbach is not really experiencing Venice for himself:
the opera becomes almost a solo drama with the rest of the ensemble as a mere, if glorious,
backdrop. More worryingly, the staging’s overwhelming visual beauty and meticulous attention
to detail means that Aschenbach’s internal disintegration is almost an afterthought, instead of
being the drama’s principal theme. There is a proliferation of style over substance, a feast for the
senses but very little for the soul to hold on to or be moved by.
One big thing missing is any genuine sense of erotic allure in the portrayal of Tadzio. The role is
danced gracefully enough by Benjamin Paul Griffiths, but not enough thought has been given to
the need to place him on a pedestal, to enable the audience to experience whatever indefinable
quality it is which captivates Aschenbach. In the group of athletic boy dancers there are two or
three who look and move in very much the same way, so Tadzio is often lost in the crowd.
Indeed, when Iestyn Davies’s Apollo makes his first appearance the sudden presence of genuine
homoerotic allure is so revelatory that one wonders what the purpose of Tadzio has been during
the preceding hour or so.
There was a chance that cohesion could have been achieved through the multiple baritone roles,
sung here by Peter Coleman-Wright. However, rather than develop the roles as different
incarnations of the same sinister character, they are too cleanly defined and individually
characterised, and as a result become merely a set of character vignettes which contribute little to
the overall shape of the piece.
While Tom Pye’s set designs have a meticulous regard for atmospheric detail which is mirrored
in the ensemble direction and choreography, the same cannot be said either for the orchestra
(under Edward Gardner in the first production of his tenure as ENO Music Director) whose
first-night playing seemed harsh and detached from the action, or for the chorus, whose ensemble
singing was scrappy and well beneath their usual standard.
Though on the surface this production had everything, it was deeply frustrating in its failure to
amalgamate the internal downward spiral of Bostridge’s extraordinary Aschenbach with the
ensemble performance and ravishing surroundings. Ultimately, it failed to create a coherent
whole – even from a set of almost faultless ingredients.
Ruth Elleson © 2007