Recently in Performances
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
Michael Grandage's production of Mozart's Le nozze di Figaro, which was new in 2012, returned to Glyndebourne on 3 July 2016 revived by Ian Rutherford.
Said and done the audience roared its enjoyment of the performance, reserving even greater enthusiasm to greet stage director Christophe Honoré with applauding boos and whistles that bespoke enormous pleasure, complicity and befuddlement.
‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.
16 Aug 2007
A Cloudy Mirror
“Tea: Mirror of the Soul” with book by Xu Ying and music by Tan Dun, revised from an earlier version first produced in Japan in 2002, was to have been the novelty of the present Santa Fe Opera season. Instead, it was dead on arrival.
The story is a triangle — a boy, a girl and a book. The book wins. The
play is written in prosaic language with no emotional charge, and the action
is minimal even mundane — though it aspires to be lofty and metaphysical.
The characters search throughout Japan and China for the Book of
Tea, or is it their soul they seek? Or is it the book of life? We never
find out. They fail. We don’t care. The bowls of tea were empty (that was
part of the action; I am serious).
All this might have been made to jell with an interesting vital score, one
with lyric sweep and emotional power. Of these qualities there was none. The
score was sound-effects music punctuated by moments of Kismet and Sigmund
Romberg kitsch — it was entirely trivial. The performers were just fine,
and the stage setting and costumes colorful and attractive. The Santa Fe
Opera Orchestra, which has been improving over recent years, sounded splendid
in the awkward fusion of Asian-Western musical styles, and the busy musical
traffic director was Netherlands opera conductor Lawrence Renes, obviously an
admirable leader, who had conducted this score in Europe. Stage director was
Amon Miyamoto. The capable singers were: Nancy Maultsby, Haijing Fu, Kelly
Kaduce, Roger Honeywell and Christian van Horn. Design was by Rumi Matsui,
Masatomo Ora and Rick Fishier.
The fault lay in the conception and the content, not in the execution;
production excellence could not save the day. At $170. for an orchestra seat,
one might have expected better. The audience response was properly
restrained. The joke around Santa Fe was to call the Tan Dun, “a night of
Chinese water torture.” Wish I had thought of that.
J. A. Van Sant © 2007