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.
15 Oct 2007
Handel’s “Radamisto” revisited with mixed results in Hamburg
A remarkably quick turnaround from only last May when the first run of Handel’s “Radamisto” was blessed with a consistently high level of vocal performance may have been the reason for sparser houses this time round at the Hamburg Staatsoper (October 6th).
Those first shows had been well
received both domestically and internationally, with some outstanding singing
from Maite Beaumont, Inga Kalna and David DQ Lee. Unfortunately, the revival
only managed to retain the luminously warm-timbre’d Lee in the title role
and neither Deborah Humble as Zenobia nor Trine Wilsberg Lund as Polissena
could quite match their predecessors, although the latter had some good
moments. Also retained from the previous cast were baritone Florian Boesch,
required to play the tyrant Tiridate as a ridiculously pantomime villain,
bass Tim Mirfin as an elderly King Farasmane, and Hellen Kwon as Prince
Tigrane. Christiane Karg stood in at only 3 days notice to play Fraarte.
Marco Arturo Marelli’s intelligent but visually frantic production (he
is responsible for direction and the set/lighting) remains little changed and
is not singer-friendly; in the great tradition of modern German opera it
seems to relegate the music to some minor by-way of the director’s mind.
Handelian purists would be best advised to avoid this production where
tragedy is degraded to vaudeville, and odd conflations of the plot make an
already complex story dramatically questionable. Luckily, Mr. Handel could
cope (doesn’t he always?) despite some ragged and sometimes lumpen playing
of this marvellous score under the benign and undemanding conducting of
Martin Haselböck. One exception: the natural horns were, on the third night,
extremely proficient — no easy feat.
Yet there were vocal highlights that rose above this mish-mash of
directorial conceits and bland playing, and they included the strong dramatic
singing of Boesch, who could colour his upstanding baritone from cooing
suitor to bombastic tyrant with ease, the precise and pleasing coloratura of
Kwon, not a natural baroque singer, who warmed to her task in the later acts.
Wilsberg Lund as a feisty Polissena also sang Sposo ingrate, parto
sì with commendable vigour and passion as she strode about the stage
packing her things to leave her unfaithful husband — literally a
“suitcase aria” in this production. Most impressive of all was the
beautifully articulated, warmly sensuous singing of David DQ Lee as the
much-troubled Radamisto. He has a free and easy top that cries out for the
higher-lying Handelian castrato roles (popping a high B flat with nonchalance
during his “rage aria” Vile! Se mi dai vita) and he achieved
neatly executed divisions whilst convincing entirely with his acting. If, in
his lower range, he fought to be heard on occasion above an orchestra that
sounded as if they only had one dynamic in their range, that was partly due
to the director’s odd insistence on placing him way upstage for most of his
arias. When finally allowed just to sit quietly downstage and sing, his
“Qual nave smaritta” would be hard to better by any countertenor
singing today and showed what an exciting young talent he is.
Sue Loder © 2007