Recently in Performances
On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.
Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.
It might seem churlish to complain about the BBC Proms coverage of Pierre
Boulez’s 90th anniversary. After all, there are a few performances
dotted around — although some seem rather oddly programmed, as if embarrassed
at the presence of new or newish music. (That could certainly not be claimed in
the present case.)
I recently spent four days in St. Petersburg, timed to coincide with the
annual Stars of the White Nights Festival. Yet the most memorable singing I
heard was neither at the Mariinsky Theater nor any other performance hall. It
was in the small, nearly empty church built for the last Tsar, Nicholas II, at
As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.
A brilliant theatrical event, bringing Handel’s theatre of the mind to
life on stage
‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.
Asphyxiations, atrophy by poison, assassination: in Italo Montemezzi’s
L’amore dei tre Re (The Love of the Three Kings, 1913) foul deed
follows foul deed until the corpses are piled high.
The precision of attack in the opening to Beethoven’s Creatures of Prometheus Overture signalled thoroughgoing excellence in the contribution
of the CBSO to this concert.
When he was skilfully negotiating the not inconsiderable complexities,
upheavals and strife of musical and religious life at the English royal court
during the Reformation, Thomas Tallis (c.1505-85) could hardly have imagined
that more than 450 years later people would be queuing round the block for the
opportunity spend their lunch-hour listening to the music that he composed in
service of his God and his monarch.
Two of the important late twentieth century stage directors, Robert Carsen and Peter Sellars, returned to the Aix Festival this summer. Carsen’s A Midsummer Night’s Dream is a masterpiece, Sellars’ strange Tchaikovsky/Stravinsky double bill is simply bizarre.
The annual celebration of young talent at the Royal Opera House is a magnificent showcase, and it was good to see such a healthy audience turnout.
There are few operas that can rival the visceral impact of a well-staged Jenůfa and Des Moines Metro Opera has emphatically delivered the goods.
The Girl of the Golden West (La Fanciulla del West) often gets eclipsed when compared to the rest of the mature Puccini canon.
First Night of the BBC Proms 2015 with Sakari Oramo in exuberant form, pulling off William Walton’s Belshazzar’s Feast with the theatrical flair it deserves.
Plus an evening by the superb Modigliani Quartet that complimented the brief (55 minutes) a cappella opera for six female voices Svadba (2013) by Serbian composer Ana Sokolovic (b. 1968). She lives in Canada.
With its revelatory production of Rappaccini’s Daughter performed outdoors in the city’s refurbished Botanical Gardens, Des Moines Metro Opera has unlocked the gate to a mysterious, challenging landscape of musical delights.
Des Moines Metro Opera has quite a crowd-pleasing production of The Abduction from the Seraglio on its hands.
Even by Shakespeare’s standards A Midsummer Night’s Dream, one of his earlier plays, boasts a particularly fantastical plot involving a bunch of aristocrats (the Athenian Court of Theseus), feuding gods and goddesses (Oberon and Titania), ‘Rude Mechanicals’ (Bottom, Quince et al) and assorted faeries and spirits (such as Puck).
What do we call Tristan und Isolde? That may seem a silly question.
Tristan und Isolde, surely, and Tristan for short, although
already we come to the exquisite difficulty, as Tristan and Isolde themselves partly seem (though do they only seem?) to recognise of that celebrated ‘und’.
28 Oct 2007
The Magic Flute — English National Opera
Despite rumours to the contrary, English National Opera’s advertising material claims that this 12th revival of Nicholas Hytner’s popular production of ‘ The Magic Flute’ will be the last. Though it’s arguably better to get rid of a production in...
Despite rumours to the contrary, English National Opera’s advertising material
claims that this 12th revival of Nicholas Hytner’s popular production of ‘
The Magic Flute’ will be the last. Though it’s arguably better to get rid
of a production in its prime rather than when it’s been done to death, it will be a
sad loss. The staging has been popular with all sectors of ENO’s audience, as a
result of its balance, clarity, wit and visual beauty. This staging more than any other has
given me continual pause for thought over the years, leading me to better understanding of the
The ‘ serious’ characters are well-rounded and balanced; after all, they
are all supposed to be in some way human. The Queen of the Night is drawn in particularly fine
detail; she believes that she’s acting for the good, or why would she afford Tamino
the protection of the flute and the guidance of the three boys? Heather Buck’s
threatening coloratura was like an explosion of simmering anger and frustration on top of a
soft, warm-hued centre, not an all-guns-blazing outpouring of evil. Sarastro, too, has
something to learn; as he gets to know Pamina better, he loses arrogance that he never knew he
had, and comes to respect a woman as an equal.
Andrew Kennedy was a noble Tamino with lovely tone, though his oddly distorted vowel sounds
are becoming increasingly irritating. Sarah-Jane Davies matched him well as Pamina, singing a
beautifully poised ‘Ach, ich fühls’ (‘Now I know that love can
vanish’). Brindley Sherratt’s Sarastro was perhaps a little weak on the
bottom notes, but gave an imposing, centred performance, and Matthew Rose is such a fine
Speaker that I long to hear him as Sarastro.
Roderick Williams was a congenial Papageno with considerable charm, delivering Jeremy
Sams’s English dialogue in an approximation of a Yorkshire accent. Talking of
accents, his disguised Papagena is conventionally played in this production as an elderly
Irish tea-lady, which proved a verbal challenge too great for the Swedish soprano Susannah
Andersson. Once she was out of ‘ character’ and into the duet, her diction
was perfect and she sang very sweetly.
Sarah-Jane Davies (Pamina) / Brindley Sherratt (Sarastro) / Andrew Kennedy (Tamino)
The chorus were on form and Martin André conducted with delicacy and lyricism, but the
greatest joy of this production remains the staging. The live doves summoned by
Papageno’s pipes; the flood of green light when Tamino is wandering in the woodland;
the bears tamed by the flute; the majestic white pillars of the Temple of Wisdom and its
glorious interior golden screens with cut-out hieroglyphics; Papageno’s marital nest
full of baby birds. Given ENO’s tendency to replace serviceable and popular stagings
of core repertoire with misguided ‘concept’ productions, could they not
be persuaded to keep this lovely piece of musical theatre for a few seasons longer? I hope so.
Ruth Elleson © 2007