Recently in Performances
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
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).
14 Nov 2007
Macbeth in Istanbul
Attending the opera may not be the first thing you think of when visiting Istanbul, but opera is to be found (if less well advertised than the local Bach Festival) at the Ataturk Cultural Center on Taksim Square, the heart of modern Istanbul.
Ataturk, the father of modern Turkey, loved opera, ballet
and theater and recommended them strongly – along with such Western
artifacts as the Roman alphabet, the panama hat, and votes – and scarfless
hair – for women. He saw the theater as a key to entering the modern world
– and isn’t it?
You will know you have come to the right place on Taksim because colorful
posters for the opera season cover the wall to the left of the Ataturk
Center. (Tickets are sold at a kiosk to the right of the building.) The
Center was built in 1969 and is sedately modern, neither flamboyant nor
hideous – 1969 was a dull time for international architecture from New York
to New Delhi. The auditorium is comfortable and of a comfortable size.
A Turkish friend who sings himself spoke unkindly of opera in his native
land, but I thought, if their Macbeth is as good as the Forza del Destino (or
Moč Sudbine) I heard in Zagreb seven years ago – honest, idiomatic,
provincial Verdi starring the stoutest woman in Croatia, lovely voice, no top
notes, and only the basso embarrassing – then I’ll enjoy myself. It was
my last night in Istanbul, and much as I delight in Turkish folk music, I
longed for an evening free of the Middle Eastern wail. To my great pleasure,
what I got was honest, idiomatic, provincial Verdi, in a production set on
telling the story, not some director’s interpretation of the story, with an
all-Turkish cast who knew how to sing Italian opera and did so, led by a
soprano with a lovely voice (including the top) who was easily the stoutest
woman I saw in Turkey.
Perihan Nayır Artan knew her business. Passionate in her entrance without
fudging the coloratura, keyed up during the duet, her pretty voice abruptly
hard at such moments as “Dammi al ferro,” when she demands Macbeth give
her the bloody daggers, and convincingly lost in an inner hell during the
sleepwalk, when the voice floated, contradicting the horrors she sang of.
I’d like to hear her Aida someday. Murat Güney gracefully sang a somewhat
distanced Macbeth, regretful but not exactly tormented as his world falls
apart, still a warrior despite an aluminum sword that bent at the first blow.
Tenor Hüseyin Likos, Macduff, seemed ready for Verdi’s shriller leading
roles like Radames and Manrico. After a few rough spots in the overture,
Markus Baisch kept the orchestra pumping if not exactly eldritch in this
score’s often highly original use of winds and strings to produce uncanny
– in 1847, unprecedented – effects.
Yekta Kara’s production was basic but not risible. (From house photos, I
gather the real money is saved to dazzle in Arabian Nights operas like
Mozart’s Sihirli Flüt and S. Ada’s Ali Baba and the Forty Thieves. They
also give Mozart’s Seraglio every summer – in the Topkapi seraglio.)
Special effects were minimal, but the story was clearly and effectively told.
The witches wore white – appearing to be surgical nurses, with bloody
aprons they lent to Banquo’s murderers. The men were in black and only Lady
M got to wear a color – guess which. The direction rather privileged the
witches, who were shown manipulating all the other characters, even in scenes
where they do not usually appear (Lady M’s cabaletta invoking “ye spirits
that tend on mortal thoughts” and also, their fingers dripping blood down a
wall, during “Le luce langue”). The witches handed Macbeth paper and pen
to write home, delivered the letter, rescued Fleance, undermined victorious
Malcolm, and sang the lines behind the apparitions in the cauldron scene –
forces of chaos, enemies to all human effort. This, I think, gives them too
much power and takes it from Macbeth – in Shakespeare, he is clearly the
author of his own misfortunes, committing his crimes though imaginatively
aware of how how disastrous this choice will be. In Kara’s production, he
has an alibi – the devil makes him do it – and thus his own character
becomes less interesting.
The words were easily comprehensible to anyone familiar with opera
Italian, but there were no surtitles – which may be why the story was so
clearly told. There was also no prompter’s box – instead lines were
hissed from stage right. This would annoy hell out of me in Wagner or Mozart,
but in a creep show like Macbeth, it rather added to the atmosphere.