Recently in Performances
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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).
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.