Recently in Performances
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
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