Recently in Performances
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
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