Recently in Performances
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
07 Jul 2007
Love and death among battlements
In 2003, at Cagli’s Accademia del Teatro, Elisabetta Courir directed a compelling Così fan tutte, minimalist, sophisticated and low-budget; quite unlike Daniele Abbado, whose Lohengrin for Bologna’s Teatro Comunale integrated “hard” scenery, video projections and historically informed costumes into a dream-like pageant.
Yet both stagings
had in common a deep respect for — and knowledge of — the original
dramatic concept and the underlying music, something increasingly rare
In fact, both young directors have one more common feature, since their
fathers Duilio Courir and Claudio Abbado rank among Italy’s shining stars
— in music criticism and in conducting, respectively. Being born into the
trade at such top levels may rather work as a hindrance, at least when a
budding professional is determined to build his/her own independent career
without relying on family connections. Ms Courir is one such case, having
debuted in opera direction relatively late in 1994 with an appreciated
staging of Vivaldi’s Tamerlano at Verona’s Teatro Filarmonico,
at the age of 30 and after diverse experiences in spoken drama.
Actually, most of her educational curriculum pointed towards opera. The
10-year girl who used to sing in the children’s choir at La Scala grew up
to study music at the Scuola Civica di Milano, alongside humanities, theater
and musicology at the State University in the same town. For a period, she
even took singing lesson from the vocal scholar Rodolfo Celletti, also
attending the masterclasses held at Fiesole (Florence) by Walter Blazer, the
well-known teacher from the Manhattan School of Music. As to direction, she
apprenticed with such masters as Dario Fo and Luca Ronconi — but
particularly Egisto Marcucci, noted for his rigor, discrimination of, and
in-depth research on, texts, whether sung or spoken.
Courir’s latest opera staging, Verdi’s Il trovatore,
generally counts as popular fare; however, her reading thereof appears
unconventional, aristocratic and upstream — starting right from its
location: an outdoor arena at Vigoleno, soaring high on the green hills
between Parma and Piacenza in the Po Valley. The castle and hamlet of
Vigoleno, built in its present form during the 1390s, was a meeting point for
the culturati during the 1920-30s. Gabriele D’Annunzio, Max Ernst, Jean
Cocteau, Artur Rubinstein among Europeans, Mary Pickford, Douglas Fairbanks
and Elsa Maxwell from the USA; all were guests here at the duchesse
de Grammont’s, born princess Maria Ruspoli (incidentally: from the same
family who offered lavish hospitality to young Handel in Rome).
The castle itself, with its towers, battlemented walls and gates, provided
a hyperrealistic backdrop to a plot set in no less than two castles in Spain
during roughly the same age: Aljaferia and Castellor. Light years far from
the current trend of European opera direction, where the setting would be
typically a dilapidated industrial plant, a garage, a gay bar, a spacecraft
or whatever else. Tall wooden boards, all crooked and scorched, served as a
camouflage for covered bays were patrols were doing their rounds. A
drawdbridge suspended over a dark gulf was alternatively the springboard
whence Manrico was expected to launch his treacherous high Cs in “Di quella
pira” and the stairway plunging into the dungeon “where the State
prisoners languish”. Less blacksmiths than dyers, the Gypsies hanged out
the garish product of their industry from virtual battlements mirroring the
real ones, or celebrated and sung by torchlight while squatting down in
circles around certain disquieting cauldrons. Tribal and gloomy with a shade
of the Orient — such was the medieval Spain conjured up by Courir and her
team: set designer Guido Fiorato, costume designer Artemio Cabassi and
Fiammetta Baldiserri in charge of lighting.
Within that (basically reliable, yet never archaeologic) framework, bodies
shaped their passions in the mould of unavoidable melodrama. The lecherous
Count attained by bitter qualms of conscience in the end; Leonora a
compassionate Madonna in light-blue train; Manrico a greyish bachelor,
moonstruck by misfortune and clearly a noble born-looser. Azucena towered
throughout in her fiery red gowns, as young and sexy as possible. Rather than
Manrico’s mother, she looked like his paramour, while a manly Ferrando kept
jerking her with ill-conceived desire. Side characters, nuns, warriors,
courtiers and sundry extras navigated smoothly, then suddenly disappeared
behind the boards. Perfect clockwork and grand opera on a grand scale, though
with limited means.
The junior singing company was enough well-matched (a crucial requirement
for Il trovatore), with baritone Claudio Sgura getting the best
applause for both his vocal qualities and sensitive acting. Rachele Stanisci
(Leonora) has her strongpoint in agility, as Laura Brioli (Azucena) in sheer
power; yet a more restrained vibrato during their forte passages would not
spoil. As Manrico, the experienced tenor Renzo Zulian sounded strangely
fatigued and/or unhappy with his upper register, probably due to a
last-minute stand-in for an ailing colleague. Orchestra Filarmonica Toscanini
and Coro del Teatro Municipale di Piacenza, both emerging ensembles, were led
by Massimiliano Stefanelli with unrelenting pulse, despite a troublesome
acoustic environment. Outdoor venues have their pros and cons, particularly
during a windy early Summer as this is proving to be.