Recently in Performances
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.
An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera
19 Jun 2007
La Clemenza di Tito – English National Opera
An increasing lack of substance and imagination behind ENO’s season scheduling means that a revival of a theatrically impressive recent production of a repertoire piece is to be welcomed, especially when that production comes with a cast of superior calibre.
Mozart’s late masterpiece is one of the most serious operas I have seen David McVicar direct,
and although this production contains plenty of allusions to his distinctive directorial style, it is to
his credit that he does not try his trademark trick of trying to turn the piece into a black comedy.
His interpretation here is truthful and largely gimmick-free. The choreography (originally by
Leah Hausmann, revived by Kai’a Lane) and sets (by Yannis Thavouris) are Japanese-inspired,
and beautiful in their simplicity. The curved walls of the set move on and off in graceful arcs,
creating light-and-shade effects, while the stage direction has a fluid, balletic quality. It helps that
there are so few people on stage; the chorus sing from the pit, so the large stage is populated only
by soloists and dancers.
Many of the cast returned from the original run. Paul Nilon repeated his impressively sung
account of the title role, but there is still a feeling that he hasn’t found a great deal of complexity
within the character. Emma Bell’s vocal performance as Vitellia was once again grippingly
dramatic, though some of her characterisation verged on caricature (the most vengeful of her
recitatives even raised a laugh from the audience).
New to the cast, Alice Coote was announced as suffering from a chest infection and although she
showed a little vocal fatigue, she sang Sesto with remarkable breath control and sense of line.
She also brought a refreshing sense of cohesion to the character development: ‘Parto, parto’ was
no blazing showpiece but an impassioned piece of extended dialogue, all very much in context.
In fact, all the scenes between Sesto and Vitellia.had an unusually palpable sense of dramatic
As Annio, Anne-Marie Gibbons gave an amiable and charming performance though her singing
was a little monochromatic, and her voice was mismatched with Sarah-Jane Davies’s weightier
In the pit, Edward Gardner kept the ensemble tight but the performance lacked energy and drive,
especially in the more turbulent passages.
Ruth Elleson © 2007