Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Of Animals and Insects: a musical menagerie at Wigmore Hall

Wigmore Hall was transformed into a musical menagerie earlier this week, when bass-baritone Ashley Riches, a Radio 3 New Generation Artist, and pianist Joseph Middleton took us on a pan-European lunchtime stroll through a gallery of birds and beasts, blooms and bugs.

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

San Jose’s Dutchman Treat

At my advanced age, I have now experienced ten different productions of Wagner’s The Flying Dutchman in my opera-going lifetime, but Opera San Jose’s just might be the finest.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

Lisette Oropesa sings at Tucson Desert Song Festival

On January 30, 2018, Arizona Opera and the Tucson Desert Song Festival presented a recital by lyric soprano Lisette Oropesa in the University of Arizona’s Holsclaw Hall. Looking like a high fashion model in her silver trimmed midnight-blue gown, the singer and pianist Michael Borowitz began their program with Pablo Luna’s Zarzuela aria, “De España Vengo.” (“I come from Spain”).

Schubert songs, part-songs and fragments: three young singers at the Wigmore Hall

Youth met experience for this penultimate instalment of the Wigmore Hall’s Schubert: The Complete Songs series, and the results were harmonious and happy. British soprano Harriet Burns, German tenor Ferdinand Keller and American baritone Harrison Hintzsche were supportively partnered by lieder ‘old-hand’, Graham Johnson, and we heard some well-known and less familiar songs in this warmly appreciated early-afternoon recital.

Brent Opera: Nabucco

Brent Opera’s Nabucco was a triumph in that it worked as a piece of music theatre against some odds, and was a good evening out.

LPO: Das Rheingold

It is, of course, quite an achievement in itself for a symphony orchestra to perform Das Rheingold or indeed any of the Ring dramas. It does not happen very often, not nearly so often as it should; for given Wagner’s crucial musico-historical position, this is music that should stand at the very centre of their repertoires – just as Beethoven should at the centre of opera orchestras’.

William Tell in Palermo

This was the infamous production that was booed to extinction at Covent Garden. Palermo’s Teatro Massimo now owns the production.

OPERA TODAY ARCHIVES »

Performances

Ryan Molloy as Gabey (ENO -- On The Town)
09 May 2007

On The Town – English National Opera

In a season that will conclude with a new production of Kismet, ENO has once again come under criticism for the number of non-operatic works on the bill.

Leonard Bernstein: On The Town

English National Opera, 23 April 2007
All photos by Laurie Lewis, courtesy of English National Opera

 

Jude Kelly’s energetic production of Leonard Bernstein’s 1944 musical was originally seen here in 2005 to an extended run of full houses, so it can at least be said to have already proved its worth.

Let loose for 24 hours of shore leave in New York City, three young sailors go in search of some sightseeing and, more importantly, some female company. Small-town boy Gabey (Ryan Molloy) falls in love with a picture of the subway beauty queen (‘Miss Turnstiles’) Ivy Smith and sends his two friends out on a mission to make his romantic dream a reality. En route, virginal Chip (Sean Palmer) and the more worldly Ozzie (Joshua Dallas) quickly manage to land themselves a pair of nymphomaniacs, the taxi-driver Hildy Esterhazy and the archaeologist Claire de Loone – and the group set out ‘on the town’ for the evening before returning to ship.

June Whitfield as Mme. Dilly and Helen Anker as Ivy Smith (ENO -- On The Town)That’s basically it, as far as the plot goes. For all its brass, sex and comedy, the show is a vignette depicting the transience of pleasure in a world where any or all of the young sailors might soon lose their life in battle.

It’s a difficult piece to categorise, almost as much a ballet as it is a musical; the high-octane comedy numbers are balanced by romance and poignancy in songs including ‘Lucky to be Me’, ‘Lonely Town’ and ‘Some Other Time’. The dance numbers didn’t work too well in 2005, but this time Stephen Mear’s choreography is slick and energetic. Simon Lee’s conducting also seems snappier and more together than on the first hearing.

Coney Island scene (ENO -- On The Town)The three ladies all returned from the previous run. Caroline O’Connor’s Hildy was a ballsy dominatrix with a voice to match. As Claire, the American Lucy Schaufer, a very versatile performer (she’s also a Handelian mezzo) combined slinky dance moves with a glorious vocal range including some terrific operatic high notes, and Helen Anker’s Ivy was sweet, graceful and ingenuous. Conversely, the three male leads were new to the production and, despite energetic performances and some attractive singing, were left somewhat in the shade of the ladies – in fact the only really memorable performance came from ENO regular Andrew Shore as Lucy’s long-suffering fiancé, Judge Pitkin W. Bridgework.

Also new was the veteran British comic actress June Whitfield, in a memorably brilliant performance as Ivy’s bohemian alcoholic voice teacher Madame Dilly, while Janine Duvitski returned to give a touching comic account of Lucy Schmeeler, Hildy’s homely roommate who eventually finds a perfect match of her own.

Robert Jones’s ingenious sets rely mainly on outline forms to capture every situation - the dockyard, Hildy’s cab, the subway, the Museum of Natural History, Hildy’s and Claire’s tiny apartments crammed together in typically urban style, the sequence of night-spots, Coney Island.

Ruth Elleson © 2007

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):