Recently in Performances
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
Though all big opera is called grand opera, French grand opera itself is a very specific genre. It is an ephemeral style not at all easy to bring to life. For example . . .
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