Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
01 May 2007
In Barcelona, a Wagner debut without scandals for Àlex Rigola, the rising star in the Catalan school of direction
At Barcelona’s Gran Teatre del Liceu, a sold-out house marked, for two nights in a row, the
weekend introducing la diada de Sant Jordi, the big fiesta celebrated on April 23 in honor of the city’s patron St George.
The Flying Dutchman is a frequent guest in this Mediterranean seaport
since it premiered here in 1885 as L’Holandès errant; not very surprisingly, since Barcelona is
also an early shrine of the Wagner cult in southern Europe. Sure, it’s a long way from Bayreuth:
patrons start clapping right after the overture and occasional breaches of etiquette take place after
favorite numbers, despite rebuking from connoisseurs. Yet the purest of Wagnerites had more
serious grounds for concern this time. The operatic debut of Àlex Rigola, born 1969, since 2003
artistic manager at the trend-making Teatre Liure, made them fear for the worst, as from that
seminary for avant-garde directors came both the talented innovator Lluís Pasqual and his former
assistant Calíxto Bieito (a notorious champion of deconstruction whom less friendly
commentators call “king of Eurotrash”).
However, those who were afraid of — or possibly hoped for — one more scandal found
themselves mystified. Rigola’s Dutchman is moderately postmodern, with a definite flavor of
cinema imagery from the 1970s-1990s, but without turning that into a shortcut to relevance. As
stipulated by Wagner the librettist, the action is set on the coast of Norway, where Captain
Daland NOW owns a small plant of canned fish. Thus chorus girls abstain from turning their spinning
wheels while waiting for their betrothed to come back from the sea with costly presents. Donning
aprons and plastic caps, they either sit in the firm canteen peeling bananas and digging into
yogurt tubs, or tarry on the verandah, smoking and flirting in front of an ever-impending seascape
much realistically displayed on laser projection. The Dutchman’s ship, no longer a clipper
mounting “blood-red sails and black masts”, towers as a rusty cargo of humongous dimensions.
Updating reaches a climax in Act 3, when happy preps with their navels fully exposed dance to
disco rhythms waving beer cans high in the air and cuddling a cute golden retriever. Nina was the
name of that blonde four-legged diva, embodying her (fortunately) dumb role with unshaken
All in all, the time-machine gimmick worked smoothly enough. Gloomy thrill and rural romance,
hurricanes and country dances mingled in the visuals as they actually do in the amphibious score
produced by the then young Wagner, still hesitating between French opéra-comique and seeds of
his Wort-Ton-Drama to come. First-bill Dutchman Alan Titus, still suffering from a recent
ailment, was not fully up to his signature role, since his beefy bass emerged a bit muddy in the
lower register and feeble in the higher. Skimming the cream from both casts, special honor is due
to Tómas Tómasson, a Dutchman perhaps insufficiently sinister but technically faultless in
managing his baritone-sounding, flexible and alluring instrument, as well as to Susan Anthony.
Her Senta sported girlish innocence and exquisite mezza-voce, though not matched by volume
and resolution in the juiciest dramatic spots. As Daland, Eric Halfvarson impersonated a dapper
sea captain-cum-industrialist, with his noble Sarastro-like utterances unspoiled by the slight
shade of cynicism that the role imposed on him. Both tenors Kurt Streit (Erik) and Norbert Ernst
(the Helmsman) contributed clarion tones and romantic passion to their born losers’ characters
— yet with some bittersweet vibrancy in it. Under the newly appointed principal conductor
Sebastian Weigle, the house ensembles — supplemented by the chamber choir of the Palau de la
Música — offered a forceful, clear-cut rendering throughout the two-and-a-half hour stretch
without any intervals.