Recently in Performances
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
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