Recently in Performances
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.
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.
20 Jan 2008
Deborah Voigt in Concert with the San Francisco Symphony
With her performance of the “Four Last Songs,” ably partnered by Michael Tilson Thomas and his San Francisco Symphony, Deborah Voigt emphatically confirmed her place as one of the glories of the current roster of Strauss interpreters.
We are perhaps familiar with a more usual “Liederabend” approach as
furthered by other celebrated sopranos -- you know, the often mewing, cooing,
hushed treatment of every fragile syllable
as-if-they-might-break-if-sung-too-operatically? Such studied wispiness was
little in evidence in Ms. Voigt’s renditions on January 10th. No wilting
violet she, Diva Debbie just flat out really sang ‘em all instead
of over-“interpreting” them. And oh, how she sang! With steady tone of
great presence in all registers and at all gradations of volume; with
generous, soaring, high-flying phrases; with delicate nuance and telling
detail; all of which was characterized by excellent diction and complete
Up against her seasoned Straussian standard then, the SFO was highly
competent if not quite equally successful in essaying this richly detailed
score. Oft times on past occasions I have wished this fine group of musicians
would coalesce into a single-minded band of thrilling music-makers, and often
as not I have found them a bit wanting in artistic vision and ensemble, no
more so than now as they confronted these lush, complex orchestral songs. If
history is a teacher, my past SFO experiences had perhaps taught me that
Maestro Thomas (or “MTT” as he is marketed locally) seems to draw
inspiration from superb soloists more than he appears to impart it routinely
to his players. That was certainly true of such past luminaries as Lang Lang
and Helene Grimaud, with whom he became a true collaborator, and with whom
the orchestra excelled. Here, MTT inexplicably seemed content to allow the
orchestra to be a somewhat aloof accompanist.
That said, there were some very fine orchestral moments to be sure, not
least of which was a peerless violin solo in “Beim Schlafengehen,”
matched by an equally superb horn solo in “Im Abendrot.” (Indeed, the
horns were remarkably wonderful throughout the evening.) Having heard the
Vienna Philharmonic take on this score, the bar was set very high for me,
since those guys absolutely inhabit this music as a seamless ensemble. That
SFO would not be so seamlessly involved was foretold by the concert opener,
Knussen’s Third Symphony. It was dispatched with cool skill, but little
overt joy or passion, the very talented individual musicians shining if
somewhat independent. The Strauss merely continued that semi-detached,
And then something happened. Barber’s seldom heard “Andromache’s
Farewell” knocked us right between the eyes with a well-judged and
committed dramatic reading from our soprano, matched thrill for thrill by
expansive, virtuosic orchestral playing elicited by MTT’s fiery conducting.
(What, did this guy knock back a couple of Red Bull’s at intermission?)
The wonderful, under-valued soprano Martina Arroyo premiered the piece in
1963 to open the new Avery Fisher Hall at Lincoln Center. How enjoyable to
already encounter the vibrant palette of orchestral sounds and effects
(especially the exciting brass fanfares) that the composer would further
refine and put to good use a bit later in his “Antony and Cleopatra”
which opened the new Metropolitan Opera House.
“Andromache’s” dynamic score certainly deserves to be heard more
often. That is, if a dramatic soprano of Ms. Voigt’s bountiful gifts can be
found. It is an interesting and varied scena with well-calculated dramatic
tension; featuring a pleasing balance of signature Barber melodiousness and
parlando passages; and with some sure-fire, slam-bang, full-Geschrei money
notes that stir the soul and tickle the eardrums. And man, does our Diva ever
have those money notes! Million Dollar Baby, baby! It was a singular treat to
hear such a wholly realized, successful undertaking of this rarity.
After the prolonged ovation died down for the Barber, MTT then jumped
right into a Puckish reading of Beethoven’s Fourth with equally pleasing
results. Though it may not have the grandeur or gravitas of the “bookend”
Third and Fifth Symphonies, it was delightful nonetheless, especially in this
playful, inspired interpretation. My persistence in returning to Davies Hall
for yet another concert after those several disappointing near-misses was
amply rewarded this night, for now SFO was indeed not just “playing” but
truly “inhabiting” the music with abandon.
MTT was in his element, inspiring and charismatic, enjoying himself (and
Beethoven) so much that at a couple of points I was thinking he may just
break into some spontaneous Schuhplatten. The orchestra responded in kind
with flawless ensemble playing and sparkling, intricate solo work. (As Ed
Sullivan might say: “How about a hand for that bassoon player? C’mon!”)
The last stinging chord brought a rain of rousing cheers down on the
assemblage, probably not a usual response for the Fourth, which says a lot
for the dazzling magic that MTT and the SFO imbued on a piece of such gentler
After this exciting second half, representing the very best I have ever
heard from this bunch and rivaling any other orchestra in the world, I wanted
to shout “Dude, drink the Red Bull before Act One next time!” And for all
I know, MTT did. . .