Recently in Performances
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
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!
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