Recently in Performances
Verdi Un ballo in maschera at the Royal Opera House - a masked ball in every sense, where nothing is quite what it seems. On the surface, this new production appears quaint and undemanding. It uses painted flats, for example, pulled back and forth across, as in toy theatre. The scenes painted on them are vaguely generic, depicting neither Boston nor Stockholm, where the tale supposedly takes place. Instead, we focus on Verdi, and on theatre practices of the past. In other words, opera as the art of illusion, not an attempt to replicate reality. Take this production too literally and you'll miss the wit and intelligence behind it.
Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.
Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.
For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.
O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.
Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.
On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.
John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.
Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.
After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
second city of Novi Sad on 27th October would be transplanted from
6th century BC Babylon to post-Saddam Hussein Tikrit or some
bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
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