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.
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