Recently in Performances
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The town’s name itself “Baden-Baden” (named after Count Baden) sounds already enticing. Built against the old railway station, its Festspielhaus programs the biggest stars in opera for Germany’s largest auditorium. A Mecca for music lovers, this festival house doesn’t have its own ensemble, but through its generous sponsoring brings the great productions to the dreamy idylle.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
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