Recently in Performances
‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.
A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walküre.
If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.
Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
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