Recently in Performances
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
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.
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