Recently in Performances
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.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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