Recently in Performances
On May 25, 2016, Los Angeles Opera presented a revival of the Herbert Ross production of Giacomo Puccini’s opera, La bohème. Stage director, Peter Kazaras, made use of the Dorothy Chandler Pavilion’s wide stage by setting some scenes usually seen inside the garret on the surrounding roof instead.
On May 21, 2016, Ars Minerva presented The Amazons in the Fortunate Isles (Le Amazzoni nelle Isole Fortunate), an opera consisting of a prologue and three acts by seventeenth century Venetian composer Carlo Pallavicino.
While Pegida anti-refugee demonstrations have been taking place for a while
now in Dresden, there was something noble about the Semperoper with its banners
declaring all are welcome, listing Othello, the Turk, and the hedon Papageno as
Opera houses’ neglect of Leoš Janáček remains one
of the most baffling of the many baffling aspects of the
‘repertoire’. At least three of the composer’s operas
would be perfect introductions to the art form: Jenůfa,
Katya Kabanova, or The Cunning Little Vixen would surely
hook most for life.
It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.
Die Meistersinger at the theatre in which it was premiered, on
Wagner’s birthday: an inviting prospect by any standards, still more so
given the director, conductor, and cast, still more so given the opportunity to
see three different productions within little more than a couple of
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
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.
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.