Recently in Performances
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
16 Aug 2007
Monteverdi’s “L’Orfeo”, Glimmerglass 2007 — Slattery rises to Alden’s challenging concept
The first masterpiece in the history of opera. That’s a tall order to live up to for any company and for any band of singers, especially those at the beginning of their careers.
But that’s what Glimmerglass Opera is all
about — pushing young singers on the cusp of international careers into the
limelight with challenges of this sort of calibre. Luckily for them, this is
an opera that has enjoyed a wealth of thought-provoking productions all
around the world in the past two decades, and an audience now much more at
ease with early 17th century musical forms than at any time since
L’Orfeo’s first performance 400 years ago.
To quote Gustav Leonhardt, Monteverdi “turned a page of musical history
and started to write a new chapter full of daring harmonies and (previously)
unheard human passions.” Unfortunately there is a dearth of instructions from the composer and so
nothing is writ in stone — yet, down through the years and certainly in the
many 20th and 21st century recordings of L’Orfeo, all
sorts of ideas as to how this juxtaposition of instrument and voice might be
realised have been attempted. However, one thing is certain: he demanded the
supremacy of the individual human voice in its eternal quest for
psychological and dramatic truth. So that too has to be a priority of any
staging: the voices and the story they tell must shine clear and unobstructed
by any misguided directorial conceits.
On that subject, this production directed by one of opera’s current
enfant terribles, Chris Alden, certainly tried the patience of many in the
audience. Having attended its premier at Opera North in England last year, I
was intrigued to see how Alden’s conceits had travelled to this very
different house, and different singers. I wrote then: “You don’t get very
much more classic than the opera that virtually invented the art-form, and
Christopher Alden has most decidedly set out to challenge a few well-worn
notions of this favola in musica.” Indeed he does, and on second
acquaintance, I can’t say that I’m any more enamoured than I was first
time around. It’s patchy; and although the idea of Orfeo as a troubled
artist/singer in some sort of faux ducal palace works very well, the eliding
of certain essential parts of the story — such as Eurydice’s rescue and
second death — just jar the sensibilities too much, as do many of the bits
of rather tired post-modernistic little “business” that the singers have
to carry. Endless yards of sticky tape (to confine Eurydice to Hades and also
to represent the Styx and now played more for laughs) and dozens of un-lit
cigarettes get boring so quickly. Having said that, as this is the
Glimmerglass Orpheus festival, in celebration of the great story’s many
transmogrifications, perhaps the challenging Alden approach is what’s
needed to keep the adrenaline running?
The pivotal and dominating role is of course that of Orfeo himself, where
muse and myth fuse into the legendary singer who descended into the
underworld to bring back his dead wife Eurydice, yet failed in the final
moments. The essential difference between first run in Leeds, and here was
the Orfeo. Paul Nilon in England concentrated on projecting a quite limpid,
gentle, musical soul whose journey and eventual failure seemed oh-so-human
and sympathetic. Here, Michael Slattery, a young American tenor and Juilliard
graduate, was a very different kettle of fish. Resembling more a wild, wilful
and wasted rock star of the 80's or 90's, his lithe body often seeming to
project emotion and nervous energy as clearly as his admirably coloured
tenor. His second act vocal climax, the virtuosic "Possente spirto", where
the singer has to “audition” his way past Caronte at the gates of Hell,
is 10 minutes of some of the most difficult vocal writing that Monteverdi (or
his contemporaries) ever committed to paper. Slattery’s performance was a
lesson in dramatic singing - the young poet/singer grew more desperate, more
anxious, as his words seemed to fail him in his quest. If some tonal beauty
was lost in the service of the drama, then it was a risk worth taking.
He was well supported by some spirited and effective singing from the rest
of the cast, who doubled as the Chorus, although some were more committed to
(and comfortable with) early music performance practice than others. Of note
were Megan Monaghan as Eurydice/Speranza and bass Christopher Temporelli as
Matching them and Slattery in musical commitment was the orchestra under
Antony Walker whose strong musical sense and understanding of idiom enabled
the period instrument-augmented Glimmerglass Opera Orchestra to sound
remarkably “authentic”. At this sort of festival with five widely varying
works in repertory through the summer, one cannot expect scholarly exactitude
from the players or the instruments they use — but with some clever
adjustments (such as substituting the original cornetti with muted piccolo
trumpets) and additions (three theorbos to augment the continuo
accompaniment) Walker and his players gave a most satisfactory approximation
to the real thing.
© Sue Loder 2007
Performances continue August 14th, 17th, 20th, 23rd, and 25th.
For tickets (limited availability): Glimmerglass Opera Box Office
(607) 547-2255 and more information from the website: http://www.glimmerglass.org