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.
28 Aug 2007
The Dream of Gerontius Opens Elora Summer Festival
Written in 1900, Elgar’s Gerontius expresses the universal and existentialist struggle of death and rebirth. The allegorical significance of the piece touches on a need for faith, self-discovery, and acceptance of the world around us.
The Elora Festival, noted for the collaborative efforts of
many great performers and organizations opened its 2007 festival with
Elgar’s magnificent creation. Noel Edison masterfully directed the Elora
Festival Singers, the Toronto Mendelssohn Choir, and the Elora Festival
Orchestra with brilliance, aesthetic dedication, and a tender yet strict
hand. The sensitivity he allotted the soloists is to be commended and his
understanding of the deeper meaning of this piece brilliantly shone in his
exquisite control of the orchestral fabric. The overture began with warm and
burnished hues, painfully weeping celli and well-balanced dark
ombra. The Elgarian timbres were specifically expressed by each
orchestral section, most specifically in the strings as they exemplified the
ethereal and transcendent space Elgar demanded in order to create the
vastness of his masterpiece. Edison paid intelligent heed to the dynamic
inflection and allowed the orchestra to create layered effects leading to
Gerontius’ beautiful entry cry of “Jesu, Maria—I am near to
Noel Edison, Artistic Director of the Elora Festival
Gerontius, sung with elegance and the purity of lyricism by Irish-Canadian
tenor, Michael Colvin, is a taxing role that requires an almost Verdian
thrust but also the most expansive sense of lyrical control. Colvin’s
diction was brilliant and his use of text was especially moving. A free and
impressive upper register, the squillo of his tenore bruciato added
to the dramatic presence of Gerontius. Although this is a concert work,
Colvin was continually in character and indeed most musically presented.
Tenor, Michael Colvin was a sensitive and believable Gerontius.
The combined choruses blended well, with precise diction. Each section
represented an individual unit that contributed to the larger whole and there
was never a sense of unbalance. Edison led them beautifully toward their
inflection of “Of all that makes me man….and crueler still, a fierce and
restless fright begins to fill the mansion of my soul,” where Elgar at once
transforms the music by imbuing atonal suggestions, with turbulent and
exciting orchestration leading into an ethereal moment of relaxation.
The entrance of the priest was significant and wonderfully approached by
bass-baritone, Tyler Duncan. Perhaps the most impressive performer of the
group, his voice spun almost impeccably and was never pushed but floated on
the breath with precision and musical inflection. Impressive indeed for a
lower voice type to exude this type of elegance, there was never any
heaviness and if so it was created by timbre, not pushing or sometimes, what
I call, “barking” baritones.
Tyler Duncan (bass-baritone) was the surprise of the evening.
A most memorable moment at the point where Gerontius’ words mimic those
of Christ in his last moments, “Into Thy hands, O Lord, into Thy
hands…” was so utterly moving that every hair on one’s head stood
completely erect. Duncan’s expression of the Priests, “Go forth in the
name…” was well-expressed as one of Elgar’s most majestic melodies.
Canadian mezzo, Kimberly Barber astonishingly represented God’s Angel.
Part II offered a most expressive response to Part I and much of that is
owed to the performance of the Angel by mezzo-soprano, Kimberly Barber. Her
presence on-stage was riveting and even though she was not in costume one saw
her presence as the Angel, purely and physically. Her eyes never wavered in
their expressive depth and she captivated. Her’s was the presence of calm
and salvation. Her voice blended liquidly with the chorus of Angelicals her
inflection and diction was precise. Her sound was never pushed and her rich
and luscious mezzo was used in a dramatic way, never singing just to project
but rather to express the meaning of the musical lines and the Angel’s
important message. Her “Softly and Gently,” was truly one of the most
compassionate and hair-raising moments of the entire performance. As she
sang, “In my most loving arms I now enfold thee, and o’er the penal
waters, as they roll, I poise thee, and I lower thee, and hold thee,” she
moved many in the audience to tears. Barber enfolded us with her eloquence
and in the end one forgot that this was a singer performing a musical role,
but really Elgar’s Angel.
Mary-Lou P. Vetere, 2007