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.
03 Jun 2007
Arizona Opera's Susannah — A Naive Story Dilutes an Impressive Production
Arizona Opera ended its 2006/07 season with a tightly-knit, well-tuned presentation of Carlisle Floyd's Susannah, his best known opera that has enjoyed numerous productions since its New York City Opera debut in 1956.
The work is based on the Biblical account of Susannah and her Elders from the Book of Daniel, as it appears in certain Bibles. From that account we learn the Elders, who steadfastly lust after Susannah, spy on her while she is bathing and soon realize that the young beauty will never give in to their lascivious advances, so they accuse her of fornicating with a young man. This charge is eventually proven false, and Susannah is saved from death. Floyd, using a librettist's poetic license, simplified the storyline by relocating the bathing Susannah to an isolated community called New Hope Valley in the Appalachian Mountains of Tennessee. There, she is observed by her own church Elders who are repelled by her audacity to bath in a small stream which is supposed to be used for baptism.
Obviously Floyd felt very comfortable with this regional setting which is reminiscent of his own upbringing as a minister's son and uses what he thought was a natural reaction by folks who live in such a stark rural setting to Susannah's spontaneous and frivolous behavior. Even in the 1950s, in the United States, with the McCarthy witchhunters combing the country looking for those with perhaps the slightest connection to the Communist Party, Floyd's characters might have appeared a tad too quick to condemn what was perceived as Susannah's immoral conduct and now, over 50 years later, with all the dramatic and diverse social changes that have occurred in American life, the pivotal situation of the plot does seem too pat.
Any opera company that wants to mount Floyd's opera has to get beyond this flaw so that it can present the work's many dramatic and musical moments in a coherent and forceful light. And Arizona Opera did just that.
Perhaps the outstanding contribution to the production was Paula Williams's direction. The director used Peter Dean Beck's spacious and accurate setting of rural life in Tennessee to great advantage. She moved the chorus about the stage with ease, whether they represented the townspeople at an evening gathering of song and square dancing or had them as church goers pleading to the Lord to save them from the wages of sin. She gave the audience the feeling that it was watching the entire New Hope Valley community acting as one against the sinner Susannah. The director also helped to transmit the same dramatic intent to the featured and principal players, allowing them to build their portrayals with vocal stamina and security.
Starting with the smaller roles, the mezzo, Korby Myrick gave her Mrs. McLean the appropriate disapproval of Susannah's public bathing. Glenn Alamilla's tenor rang out as Susannah's ambivalent suitor, never failing to express his fear of the unknown. Moving up to Robert Breault as Sam Polk, Susannah's brother, he filled his character with the right amounts of love and affection mixed with his anxiety for Susannah's future. He resolved his conflict by shooting the Reverend Olin Blitch, Susannah's seducer in the last scene. And most times, Gustav Andreassen as the Reverend Blitch forcefully conveyed his staunch alliance with the Lord. The bass was most impressive in his sorrowful and guilt-ridden monologue on having violated Susannah.
The role of Susannah was the only part that was double cast. Fortunately for Arizona Opera, it found two sopranos who could provide this difficult and challenging part with the right emotional impact when needed. Rhoslyn Jones, a physically stronger Susannah than Diane Alexander was a tad uneven vocally, but her forceful sound portrayed her commitment to the role. Alexander projected a softer emotional approach, but was more consistent in showing how Susannah's misery unfolded. It was a credit to both singers and to Williams how well the rest of the cast never missed a dramatic beat no matter what Susannah was on stage.
Conductor Joel Revzen kept his orchestra committed to Floyd's overriding musical idiom: that of using many parlando melodies underscored by Appalachian ballads, gospel tunes and square dance music. At times, he drove the orchestra too hard, allowing the musical climaxes that expressed Susannah's rage or Blitch's stabs at redemption-to take two examples- to eclipse the singers' vocal prowess that gave unerring testimony to their talents. This tendency, which made it difficult to catch all the nuances in the colloquial text the composer reveled in, kept the audience's eyes glued to the titles, causing it to graze by some of the opera's most intense dramatic moments. But overall, it didn't detract from the performance which was one of the company's most fruitful and fulfilling productions in recent memory.
Nick del Vecchio
[Reprinted from Living at the Opera with permission of the author.]