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.
14 Nov 2007
Aida at ENO
After the marketing gimmickry of Sally Potter’s production of Carmen, and a dance-based Poppea set at the bottom of the sea, it did not bode well when the advertising for ENO’s latest
production included an interactive dress-up doll circulated by email.
The company currently
seems obsessed with ‘hooking’ a new audience, while giving little thought to delivering a
consistent standard of meaningful theatrical output which might encourage this audience to stay
and explore the operatic medium further.
The ‘hook’ for Jo Davies’s new production of Aida (in collaboration with the opera companies of
Houston and Oslo) was the prospect of sets and costumes by the iconic British designer Zandra
Rhodes – hence the dress-up doll – and it was Rhodes’s name which dominated the publicity
Rhodes’s creation is a riot of colour in stylised, exaggerated versions of authentic Ancient
Egyptian designs. The men’s chorus sport voluminous gold skirts and bald-caps painted with
turquoise zigzags; Amneris is entertained by orange-clad child dancers in a room with intricate
wing-patterned windows, and Radamès makes his Act 2 triumphal entrance on a fabulous
turquoise-and-gold elephant puppet amid a shower of gold. These are the garish ceremonial
colours of the Egyptian armies; the Ethiopians have earthier colours, browns and burnt reds and
yellows. Diagonally-hung scenic draperies slide back and forth to create pyramid-shaped spaces;
the final scene is highly effective as a triangular space closes in on Aida and Radamès.
Crucially, behind the zany turquoise headdresses and lavish visuals, Jo Davies has created a
straightforward, ultra-traditional reading of Verdi’s drama which focuses on the central love
triangle and Aida’s internal struggle. It is refreshingly gimmick-free and invites the audience to
care about the characters. Furthermore, the singing is terrific.
Two singers are particularly outstanding; Claire Rutter, who sings the title role for the first time
and does so with total commitment and unfailingly lovely tone, and Iain Paterson, also in his role
début as Amonasro, a former ENO Young Artist whose bass-baritone is now impressively
refined and compelling (his future engagements include Gunther at the Met).
Full stage with Jane Dutton (Amneris) and Gwynne Howell (The Pharaoh) centre
Tenor John Hudson may be short on vocal ‘edge’ but he sings Radamès with power in the big
moments at the end of Act 1 and the Nile Scene, and remarkable sensitivity in the quieter
passages, including a proper diminuendo on the final B-flat of ‘Celeste Aida’. Jane Dutton’s
Amneris is vocally capable, but it’s her characterisation that would really benefit from more
depth. For the first two acts at least, she comes across as little more than a smug,
two-dimensional cartoon villain; there’s little evidence of the personal pain behind her
victimisation of Aida. After the Nile Scene, suddenly there’s some depth and real drama. (One
weakness of the staging as a whole, in fact, is that it doesn’t really start to take itself seriously
until the second half.)
Add into the mix the two distinguished basses – Gwynne Howell as the King of Egypt and
Brindley Sherratt as Ramfis – and the cast is one of which any top-rank international house
would be proud. In the pit, conductor Edward Gardner makes delicate work of the score’s soft
opening and the calm reverence of the ‘Possente Ptha’ scene, but pulls the stops out for the
warmongering in Act 1 and the big stuff of Act 2.
For once, the formula seems to be right. Attract the punters with a well-known opera title and a
big-name designer, and keep them entertained with first-class music making, a visual spectacle,
and a production which acknowledges that the intimate stuff is most important of all. ENO
should treat this as a salutary lesson.
Ruth Elleson © 2007