Recently in Performances
This may be the twelfth revival of Jonathan Miller’s 1987production 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.
12 Nov 2007
Le Nozze di Figaro – Metropolitan Opera
Le Nozze di Figaro, in 1786, was the longest and most elaborate opera buffa ever composed and (though it is seldom given complete) is still the longest you are likely to see in the regular repertory.
There are so many
variables that a critic can easily find something to object to. A Countess
short of breath in “Porgi amor,” with which (no warm-up) she opens Act
II; a Cherubino too feminine for adolescent male outpourings; a Count
insufficiently virile for his masculine vanity (the engine that drives the
plot) to be credible; a Marcellina too young to be Figaro’s mother
(Beaumarchais turns Oedipus into farce here, showing how close
tragedy and comedy really are); a lackluster conductor; a “concept”
staging that ignores half the plot; an ugly set; an incompetent fandango or
leap from the window – there is always (as Gilda Radner would say)
something. Attending the Met’s Figaro in a year when few
world-famous names have signed on for it, the manipulator of the poison pen
whets his fangs in malicious anticipation.
At the matinee of November 10, the Met fooled me: until the last two
minutes of the staging (and then it was Jonathan Miller’s unaltered
original direction that let me down, not anything the performers did), Le
Nozze was as near perfect as you are likely to get, and none of those
obvious lapses occurred. Anja Harteros sang both the Countess’s arias
flawlessly and was, in addition, a radiant beauty whose neglect by any
husband puzzled everyone and made him look an oaf. She won the
ovation of the afternoon – even for one who missed the angelic quality Kiri
Te Kanawa brought to the Countess’s final lines of forgiveness. (The opera
– and buffo in general – is primarily about forgiveness for everybody’s
human imperfections – which is why the original, imperial audience found it
easy to overlook the revolutionary subtext.) Ekaterina Siurina, a plump
Russian tidbit, as Susanna sang a radiant “Deh vieni non tardar” and a
“Venite, inginocchiatevi” with the proper giggly bounce. Kate Lindsey is
a real find – her Cherubino looked like an adolescent boy, a very pretty
one to be sure but with an arrogant chin and a “street” sort of strut
that made this cocksure kid a credible threat to the older males. She sang
gloriously too. Marie McLaughlin made an ardent but not preposterous
Marcellina – for once one regretted the omission of her aria – and
Anne-Carolyn Bird, though a bit tall, sang a sweet Barberina.
Anja Harteros as the Countess
Among the men, Bryn Terfel naturally stood out in the title role. I did
not like his Figaro when the production was brand new – he seemed so
anxious to show what an actor he was that he huffed and puffed and groaned
and grimaced instead of singing; Mozart took a back seat to Beaumarchais. He
has calmed down considerably over the years, and though still a bouncing
buffo-man with plenty of time for comedy (if his pretence of jumping off the
balcony is not quite believable), he now sings the arias at a less frenetic
pace, with more of the elegance they require and reward. Simon Keenlyside
played the Count as an elegant fop, forever tossing his curls and pratfalling
on the polished floors, but this never interfered with his musical authority.
Maurizio Murano’s blowhard Bartolo, Greg Fedderly’s slithy Basilio, and
Patrick Carfizzi’s lumpish Antonio earned most of the day’s laughs.
Philippe Jordan is a young Swiss who conducts with zest and delight, as if
he wanted to grab you by the ears and prove this is a masterpiece with charms
you never suspected – hardly necessary with Figaro, but what I
mean is, he takes none of it for granted, he is thrilled by the music and
eager to share.
Ekaterina Siurina (Susanna), Bryn Terfel (Figaro) and Simon Keenlyside (Count)
And what did I object to about the conclusion? In the Met’s rush to get
the Countess into a new and glittery gown for the finale, no one has thought
(and Mr. Miller years ago did not think) to have her show the ring to the
Count, revealing to him that she is the mysterious lady he made love to in
the dark. The audience knows this, and Figaro and Susanna know it, but the
Count does not, and his heartfelt, aristocratic apology is inexplicable if he
doesn’t. The laws of farce are immutable: If you do not tie all the knots,
the machine unravels. It’s such an easy piece of business to fix – and so
satisfying when it’s fixed. Patch it up, Met.