Recently in Performances
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
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.