Recently in Performances
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
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