Recently in Performances
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.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim
) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.
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.