Recently in Performances
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.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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.