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Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
Beat Furrer's FAMA came to London at last, with the London Sinfonietta. The piece was hailed as "a miracle" at its premiere at Donaueschingen in 2005 by Die Zeit: State of the Art New Music, recognized by mainstream media, which proves that there is a market for contemporary music lies with lively audiences
Franz Schreker Die Gezeichneten from the Opéra de Lyon last year, now on arte.tv and Opera Platform. The translation, "The stigmatized", doesn't convey the impact of the original title, which is closer to"The Cursed".
22 Oct 2007
Opera at the BBC Proms 2007
Glyndebourne Festival Opera’s guest appearance is an annual fixture at the Proms, and this year the work of choice was Verdi’s Macbeth, in a semi-staged performance on July 24th based on Richard Jones’s new production for this year’s Festival.
The opera was done in a hybrid edition in which the
familiar 1865 score gives way to the 1847 finale following ‘Pietà, rispetta,
amore’, thus keeping all the later version’s best music and gaining a more
theatrical, less ‘operatic’ ending.
Indeed, it had been a theatrically-compelling staging — at its
Glyndebourne home. However its bulky sets and large-scale choreography simply
wouldn’t have been viable in the limited dimensions and exposed nature of the
Royal Albert Hall platform. Consequently Geoffrey Dolton’s semi-staged
adaptation retained little of the original, and had it not been for the
tartan costumes which provided such a clear indication of family allegiances,
it might as well have been given in concert.
On its own terms, however, the musical performance was very strong, led by
Vladimir Jurowski whose conducting had rhythmic delicacy and dramatic sweep.
Voices which sound thrillingly huge in Glyndebourne’s intimate and forgiving
acoustic can struggle to make an impression in the cavernous Royal Albert
Hall, but as Lady Macbeth, Sylvie Valayre was notable here for her strength
and lyricism, and Stanislav Shvets for a portentous yet introverted account
of Banquo. Strong performances too came from Andrzej Dobber in the title
role, and Peter Auty as a young Macduff who is matured by his personal
On to August 12th and this season’s operatic highlight: a concert
performance of Götterdämmerung, the culmination of the first
“Ring cycle” in the Proms’ 113-year history - in reality, performances of
the four operas by four different companies over the space of four years.
After visits from Simon Rattle with the Orchestra of the Age of
Enlightenment, Antonio Pappano with a semi-staged adaptation from the Royal
Opera, and Christoph Eschenbach with the Orchestre de Paris, the baton was
handed to Donald Runnicles and the Proms “house band”, the BBC Symphony
Orchestra, for the final instalment in a concert performance.
It was a terrific ensemble effort by all concerned, speaking volumes about
Runnicles’ rapport with the orchestra. Christine Brewer (a regular guest
performer with the BBCSO) was a radiant, committed Brünnhilde. Stig Andersen
gave a muscular performance as Siegfried albeit with a couple of botched top
notes, and John Tomlinson’s Hagen was a triumph of characterisation and
malevolent stage presence. Of the supporting cast, the Scottish mezzo Karen
Cargill gave a notably excellent performance as Waltraute; her focused,
dramatic sound and expansive phrasing will surely stand her in good stead for
similar repertoire in the future. Only the Norns — Andrea Baker, Natascha
Petrinsky and Miranda Keys — sounded as though they had not been employed
with the success of the ensemble in mind, and even this is no reflection on
the individual singers.
This performance was a great achievement and, like all successful Wagner
performances, succeeded in making six hours go by in the blink of an eye.
August 20th brought a performance of Duke Bluebeard’s Castle by
the Philharmonia Orchestra under Christoph von Dohnányi, in a concert whose
first half featured Webern’s orchestration of part of Bach’s ‘Musical
Offering’ and a recently-assembled concert suite from Thomas Adès’s 1995
opera Powder Her Face. Contemporary music, even going back as far as
Bartók, simply doesn’t seem to pull in the crowds at the Proms; the hall was
almost empty. This cannot have done much for the morale of the orchestra or
soloists, but this Bluebeard performance would surely have been
disappointing in any case. Charlotte Hellekant was miscast as Judit, her
glacial poise giving no indication of the warmth she promises to bring to her
chilly new home. Correspondingly there was scant evocation of this in the
orchestral playing, and little sense of the richly-drawn individual musical
worlds to be found behind each of the seven doors. The orchestral balance was
all wrong too, swamping Falk Struckmann’s intelligent, generous-voiced
In the final week of the season, James Levine and the Boston Symphony
Orchestra visited for two evenings — an orchestral concert as well as a
concert performance of Berlioz’s La damnation de Faust with the
Tanglewood Festival Chorus. This performance fell on September 6th, the day
Luciano Pavarotti died, and the performance was dedicated to his memory.
Vocally the highlight was Yvonne Naef’s glorious mezzo in her fevered,
introverted account of ‘D’amour l’ardente flamme’, but elsewhere there were a
few problems. As Faust, Marcello Giordani had a tendency to strain, while as
Méphistophélès, the veteran José van Dam sounded a touch threadbare. The
real strengths in the principal ensemble lay elsewhere; the dynamic between
Faust and Méphistophélès was well-developed, and the characters were
finely-drawn and well rounded. This was, after all, a late date in the
orchestra’s tour calendar, so the opera (or rather the ‘dramatic legend’)
came to London fully ripe. This experience was evident too in the disciplined
and vivid singing of the chorus, and in the wonderful orchestral playing
especially in some of the solo woodwind.
Ruth Elleson © 2007