Recently in Performances
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
11 Jun 2007
Italiana restored: Rossini’s afterthougts staged in Vicenza
Vicenza’s Teatro Olimpico, a jewel of Renaissance architecture inaugurated in 1585 and seating around 500, hosted in early June a run of three performances of Rossini’s Italiana in Algeri.
the cognoscenti, a much anticipated experience, since the production was about the alternative
version staged, under Rossini’s direct control, in the local Teatro Eretenio just three months after
the world premiere in nearby Venice on May 22, 1813. Various period observers, including the
French novelist Stendhal, witness to the craze sparked by Rossini’s oriental fantasy, resulting in
many revivals during the mid-late 1810s. Extramusical circumstances may have played a role,
“Between 1530 and 1780 there were almost certainly a million and quite possibly as many as a
million and a quarter white, European Christians enslaved by the Muslims of the Barbary Coast”
[which extends from Morocco through modern Libya], reckons Prof. Robert C. Davis. Only in
Algiers there were six “bagnos” (baths) hosting the human prey caught by Barbary pirates during
their raids in the Mediterranean, and even as late in 1830, when the French took over Algiers,
there were still 120 white slaves in the bagno.
Such historical background may qualify L’Italiana in Algeri, loosely based on a real-life incident
involving a lady from Milan, as a conspicuous act of escapism from all-too-present horrors,
while to modern audiences the shadow of the impalement stake, repeatedly waved in front (well,
somewhere else) of poor Taddeo, only amounts to a bawdy phallic gimmick. Stage directors
rarely miss the chance, and Damiano Michieletto was no exception this time. Besides red tables
and modular cubic frames — variously recombined to conjure up Mustafa’s palace, gardens, a
ship etc. — black wooden poles sprouted everywhere. (True, the imposing presence of Palladio’s
three-dimensional sets is a hindrance to any stage designer, thus making minimalism an
unavoidable choice at the Olimpico).
On the other hand, the acid lighting, the ghoul-like makeup of the eunuchs’ choir, Haly’s fiendish
looks and Mustafa’s rabid behavior conveyed a disquieting atmosphere far from the stock
reading of Rossini’s buffo masterpiece. Only in the finale, with the fugitive Italian slaves
disguised as pizza cooks and green-white-red colors flying around in a reassuring happy end,
some tribute to commonplace was paid. If mildly modernistic and apparently low-budget, the
stage department thus contributed to boost the remarkable musical performance led by Giovanni
Battista Rigon with relentless pulse and unfailing tempo choices. The Orchestra Filarmonia
Veneta “G. F. Malipiero” sounded historically informed in its string section; so did the crisp
woodwinds led by virtuoso oboist and deputy conductor Stefano Romani. Brasses and
percussions (including a rarely-heard chapeau chinois or jingling-Johnny for Janissary local
color) added a brazen touch in the tutti passages, particularly in the finales.
In the singing company, the up-and-coming Albanian mezzo Enkelejda Shkosa (Isabella)
displayed buffo stamina alongside impressive coloratura, though her recent weight gain hardly
contributed to the seductive requirements stipulated by her role. Despite a cold start, Lorenzo
Regazzo was a mercurial and domineering Mustafà throughout. If only he could restrain from
cheap effects in the style of third-rate German Kabarett, leading him to unnecessarily tampering
with the pitch. Both Andrea Zaupa, a young and debonair Taddeo, and Chiara Fracasso as Zulma
deserved unconditional praise for their beautiful instruments, mature vocal technique and acting
skills. The same would apply to Luca dell’Amico’s Haly, were it not for a few campish poses
imposed on him by costume designer Manuel Pedretti. Anna Laura Martorana (Elvira) and
Nicola Amodio (Lindoro) took perhaps too many risks with belcanto passagework, but — given
their young age — they may have the potential for further growth.
The main variants in the score involved Isabella’s role. Her substitute cavatina “Cimentando i
venti e l’onde” is studded with exciting virtuoso intricacies right from the start, yet sounds less
effective if compared to the soaring profile of the usual “Cruda sorte”, where the coloratura
batteries are being gradually uncovered after a row of fiery quasi-spoken ejaculations.
Interestingly, both alternative versions were written for the same singer: the Florentine alto (and
Rossini’s mistress) Marietta Marcolini, then in her early thirties. In the aria “Per lui che adoro”,
the core difference was about the accompanying solo instrument — a cello instead of a flute, the
latter being introduced only after 1815. Actually, the lower texture seems to work better: it’s as
much warm, pensive and sexually teasing as the plot requires.