Recently in Performances
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.
One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).
At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.
At the heart of this Wigmore Hall recital were two sacred vocal works for solo countertenor and small instrumental forces, recently recorded by Florilegium and Robin Blaze to considerable critical acclaim: J.S. Bach’s cantata ‘Vergnügte Ruh, beliebte Seelenlust’ and Giovanni Battista Pergolesi’s ‘Salve Regina’.
After the bitter disappointment of
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