Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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