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.
16 Aug 2007
Haydn’s L’Anima del Filosofo (Orfeo ed Eurydice) — A rare performance at Glimmerglass this summer, as part of their “Orpheus” 2007 Festival Season
On a cold winter’s day in Vienna, just before Christmas 1790, Mr. Haydn dined with Mr. Mozart for the last time.
Within a year the younger man would
be dead, and the older would be in London putting the finishing touches to an
opera that never saw the light of day in full public performance until, in
1951 it was staged in Florence with Maria Callas, Boris Christoff and Tygge
Tyggeson in the leading roles. This is just part of the strange story of an
opera that nearly never was, because although Haydn was fully paid in advance
for his version of the Orfeo and Eurydice legend by the London-based
impresario and violinist Johann Peter Salomon, it became the victim of
politics and critical machinations that finally prevented it from opening at
Haydn was happy enough with the project (being paid in advance must have
helped) and described the libretto, by Carlo Badini, as “entirely different
from that of Glück’s”. What he didn’t say was that said Badini was
also famed for his destructive gossip and very influential critical writings
which could literally make or break a theatre’s reputation at that time. In
this writing of the famous tale, the story starts with Eurydice fleeing the
unwanted attentions of her father’s favoured suitor for her, and becoming
the focus of Orfeo’s love; however, by the end of Act One she is dead from
a snake-bite. The rest of the four acts concern Orfeo’s struggle to
retrieve her from Hades, his famous error, and in this version of the tale,
his eventual destruction by the Bacchae women, enraged by his avowed shunning
of women’s love following his final loss of Eurydice.
There were only 3 main roles in the opera that Haydn wrote — Orfeo,
written for leading tenor of the time Giacomo Davide who was described later
as possessing “a clear and flexible voice, with an extensive
falsetto”, Eurydice, sung by soprano Rosa Lops and the Genio (an
oracle/soothsayer figure) who was apparently to be sung by a not-very-good
castrato of the time, possibly one Signor Dorelli. Confusingly, by the time
the opera came to rehearsal, there was another role included in the MS —
that of Creonte, father of Eurydice. Sadly, despite getting to
dress-rehearsal, local politics prevented the King’s Theatre from opening
on time and Haydn never saw his opera open to the public.
It is no wonder then that this particular operatic version of the famous
myth fell into that huge abyss of “forgotten” works as the
late18th century geared itself up for the immense musical
developments on the horizon. Yet, it is a jewel of its time, with some
stunning music as well as dramatic vigour and this 2007 Glimmerglass concert
performance has been looked forward to for some time by those who remember or
have heard, either Callas in ’51, the 1967 live recording by Dame Joan
Sutherland and Nicolai Gedda at the Edinburgh Festival, or of course the more
recent revival by Cecilia Bartoli.
However, it was rather a disappointment to find that circumstances and
time constraints had yielded some pretty savage cuts here on the shores of
Lake Otsego. Michael Macleod, the new General and Artistic Director,
explained that he had been anxious to do something meaningful on the
traditional Sunday morning slot on Gala Weekend in this his first year at the
helm of the Festival Opera. What better than to maintain the ethic of
Glimmerglass and make more good music with a little known take on the myth,
and better still, a work by one of his great loves, Haydn? Sadly, the time
available between the 11 am start and the afternoon matinee at 3 pm of the
staged L'Orfeo by Monteverdi meant that the concert performance was
truncated with huge swathes of recitative removed. The story was moved on
succinctly but prosaically by an on-stage Narrator, and several arias also
What was left seemed more a showcase for soprano Sarah Coburn, an
opportunity this technically elegant singer took full advantage of. She sang
the arias of Eurydice and the Genio (the latter's big number “Al tuo
seno fortunate” being eerily reminiscent of Mozart's Queen of the
Night’s) with precision (mostly) and vocal poise. Not exciting, but
obviously well-read and produced with only fleeting glances at the score
before her. Equally effective was the baritone of young Corey Crider as
Creonte. Much less successful was the Orfeo of tenor Norman Shankle, who
appeared both nervous and under-prepared, his hands (and eyes) never far from
the printed music, and his production sounding unsure and tentative, at best.
This curate’s egg of a production was held together by some nice idiomatic
playing by the Opera Orchestra, with special mention going to the flutes,
under the shared batons of Antony Walker and Anne Manson.
Mr. MacLeod explained afterwards that the reason for the split duties for
the conductors was part of a process of selection for vacant post of the
Festival’s next Music Director. Whatever the reason, it was a rather novel
experience for the audience as the two conductors had two very different
styles, although it was hard to split them on the resultant sound.
The performance is repeated on the 19th August.
© Sue Loder 2007
For tickets (limited availability): Glimmerglass Opera Box Office
(607) 547-2255 and more information from the website: http://www.glimmerglass.org/Haydn.html