Recently in Performances
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
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