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Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
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