Recently in Performances
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.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
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