Recently in Performances
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
04 Dec 2007
Bolcom’s ”View” brilliant at WNO
The American Dream and the tragic vision of ancient Greece are miles and millennia apart; yet they merge seamlessly in William Bolcom’s “View from the Bridge,” on stage in November at the Washington National Opera.
The mythic dimension, of course, was already there in Arthur Miller’s 1957 drama, a true-to-life
story, in which the author detected “some re-enactment of Greek myth that was ringing a
long-buried bell in my subconscious mind.” In the play Bolcom too sensed the mythic horizon
behind life in the New York Sicilian community of which Eddie Carbone had long been a pillar.
And working with Miller and long-time collaborator Arnold Weinstein to “translate” the drama
into opera the composer amplified the mythic resonance of the story by adding a chorus that
functions as it did in classic tragedy: it comments on — rather than taking part in — the events
Commissioned by and premiered at the Chicago Lyric Opera in 1999, “View” moved — with
the addition of two arias to the score — to the Metropolitan Opera in 2002 . And this third
staging of the original production — directed by Frank Galati with sets and costumes by Santo
Loquasto — by a major company confirms that this is indeed an American classic.
Three singers in the WNO cast who created their roles in Chicago and then repeated them at the
Met contribute greatly to the WNO success: Kim Josephson as stevedore Eddie Carbone,
Catherine Malfitano as his wife Beatrice and Gregory Turay as relative Rodolfo newly-arrived
It is a coincidence perhaps that this trio returns to “View” for a third time. Yet their presence in
the cast speaks of a commitment to the work that came across clearly in the performance at
Washington’s Kennedy Center on November 14. It is, of course, Malfitano, now looking back on
an international career spanning three decades, who amazes. The dramatic power and the beauty
of her voice remain undiminished. Her delivery of “When am I gonna be a wife again?” — one
of the added arias — expresses the pain she feels as she watches her husband’s growing
obsession with her orphaned niece, portrayed with all the innocence of the ‘50s by Christine
This illicit passion that turns this account of life in a community still committed to an Old-World
code of honor into tragedy defines Eddie as the central figure in “View,” and Josephson has fully
mastered the complexity of the role. He violates this code first in his passion for his niece and
then in reporting his wife’s illegal immigrant relatives in to authorities. But of far greater
consequence is the kiss that he gives his rival Rodolfo.
It is a violation of a taboo that determines the outcome of the drama. What makes the scene
doubly compelling is that up to this moment Eddie was not consciously aware of the sexual
attraction that Rodolfo held for him.
This kiss, comparable in its force to that embrace in the Garden of Gethsemane, is at the very
heart of “View,” and Bolcom has set it with a master’s hand. Backed by the black-white
bleakness of the photographs projected on the rear of the stage, it reaches beyond the story as a
violation of such dimensions that it demands action from the gods. Indeed, in its impact, it stands
beside Hagen’s murder of Siegfried in Wagner’s “Götterdämmerung.” It is one of the great
moments in opera.
An outstanding member of the supporting cast is Richard Bernstein as illegal immigrant —
“submarine” — Bruno. Bass Bernstein, one of America’s most agile singers, is superb in
everything he does, yet he remains among the unsung truly significant voices of his generation.
And he makes “A Ship Called Hunger,” the finest and most overpowering aria in the score, a
show stopper. Indeed, the bitterly sorrowful line “I do not understand you, America!” is the
supreme vocal moment in the opera.
Also impressive is veteran bass John Del Carlo as Lawyer Alfieri, a man intimately familiar with
the characters in the drama, but at the same time an objective observer who leads the chorus that
Bolcom has integrated so effectively into the score. And tenor Turay brings bel canto brilliance
to Bolcom’s recasting of the hit song “Paper Doll” as a Pucciniesque aria.
John DeMain, now in the senior ranks of American conductors, gives full power to Bolcom’s
score with the WNO orchestra. Amy Hutchison directed this re-staging of the Chicago
“View from the Bridge” tells a story as poignant as it is bleak of what opera scholar Thomas May
describes as “an era that combined lingering innocence with suspiciousness, unjaded faith in the
American dream with a shield of cynicism.” Arthur Miller was a major spokesman of that age;
with this opera William Bolcom lays bare its emotional heart.