Recently in Performances
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
21 Jun 2007
Lully’s Psyché at Boston Early Music Festival
There’s not much point in presenting Lully’s Psyché (in its North American premiere no less) unless you’re going to give it something vaguely like the grandeur Louis XIV could command in 1678.
In a down-home way, Boston’s biennial Early Music Festival achieved this to a remarkable
extent: instrumentalists and singers from the front ranks of antique performing practice led by
BEMF’s longtime opera conductors, Paul O’Dette and Stephen Stubbs, the staging glamorous
but basic, with elaborate dance interludes that were always a significant part of (often the
principal excuse for) opera in France, costumes worthy of a costume ball at Versailles, and
elaborate stage machinery — there’s a whole lot of flying going on, and entrances are made from
above as often as from the wings.
Opera is not a word Lully or his collaborators used for such pieces, and indeed at that point no
one in France was quite sure what “opera” meant. Tragédie lyrique, a sung and acted drama, was
the thing. Lully’s dignified and magical creations soon circulated about Western Europe. Much
of the singing is declamation of stately rather than lyrical melody, a grand manner passed on via
Rameau to Gluck, Berlioz and Poulenc. (Wagner made effective use of it too.) This can be
unsettling to the average operagoer, accustomed to the song-like manner of Italian opera; but the
appreciative audience at the jewel-box Cutler Majestic Theater, accustomed to the stylistic
vagaries of older music, ate it up. What gave more pause is another enduring eccentricity of
French style: the equal rights accorded to ballet. There are dances throughout Psyché, and the
piece concludes with a good half hour of it. This was very prettily achieved in the court manner,
but the Boston audience wearied about halfway through the long finale. This is not to fault Lucy
Graham, the choreographer, who found exceptional variety in the fixed gestures and poses of
court dance, and introduced several whimsical interludes, including a ten-minute “commedia
dell’ arte” mimed by the traditional Italian figures. (The enormous and obviously devoted
production team included a “Vocal and Gesture Coach.”)
The story is the late classical myth of Psyche (“Soul”), the mortal so beautiful that a jealous
Venus vows to destroy her. Venus’s son (L’Amour in the French version), charged with the girl’s
destruction, falls for her himself and carries her off to a magical palace where, however, she is
forbidden to see what he looks like. Of course, she cheats (cf. Lohengrin and Bluebeard) — in
Psyché, it’s because Venus tricks her into doing so — and he leaves her. To get him back, Psyche
must descend to the Underworld to fetch Venus a box of beauty from its queen, Proserpine. Of
course, she peeks into the box and is lost — but this time the gods relent, Jupiter promotes her to
goddess, and all ends happily with the Soul mated to Divine Love. (The subtext, as program
essays made plan, concerned the love affair of Louis XIV and Madame de Montespan.)
Among the singers, as was only proper, the finest had the largest parts: Carolyn Sampson, the
pretty Psyché, who sang and acted her long role with conviction and sweet, untiring tone, and
Karina Gauvin, as Venus, the opera’s heavy, a role she acquitted with great verve. The episodic
narrative included many charming episodes, wittily staged — for instance a marital spat between
Gauvin and Colin Balzer, whose lyrical tenor seemed far too attractive for Vulcan, the
hardworking smith-god: “You always side with lovers and against husbands,” he sang to her, and
the joke was as good in 2007 as in 1678. Lully wrote the Furies — usually visualized as
shrieking women — for three low male voices, and the production accordingly presented three
men in black, seventeenth-century drag to berate the heroine for intruding upon the dead.
L’Amour was acted and, for a line or two, sung, by a winged child actor in order to conform to
Cupid’s traditional iconography, but for the wedding night the god magically adopted the form of
a full-grown tenor the better to sing duets with. Of the mostly able singers in the many smaller
roles, countertenor José Lemos as Silenus had a ravishing sound one would be eager to encounter