Recently in Performances
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
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. . .