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.
20 Feb 2008
Anna Christy Triumphs in Lucia di Lammermoor at ENO
ENO doesn’t really go in for bel canto opera. Other than a Maria Stuarda back in the mid 1990s, the only Donizetti opera in the company’s repertoire in the recent past has been the popular L’elisir d’amore.
Dramatically, Lucia di Lammermoor is perhaps the composer’s finest work, and one of the most obvious precursors to Verdi, but it’s also one of the most problematic to cast, not least because of its daunting historical association with some of the greatest sopranos and tenors of the twentieth century.
If any opera company can be relied upon to make a credible ensemble piece of an opera that’s known for being a star vehicle, it’s ENO, and this first new production of 2008 is a triumph. It may not be orchestrally thrilling — Paul Daniel’s conducting doesn’t really allow any rhythmic variation or space, at least for the first two acts — but the staging is dramatic, emotionally involving and coherent, and the principal casting is almost faultless. All did not go entirely to plan on opening night; singing the chaplain Raimondo, Clive Bayley succumbed to a chest infection part-way through the first act and he continued to mime the role to the voice of his cover, Paul Whelan, who is due to sing two scheduled performances of his own at the end of the run, but who on this occasion sang from one side of the proscenium.
In David Alden’s bleakly monochromatic production, with sets by Charles Edwards and costumes by Brigitte Reiffenstuel, emotion takes second place to practical and political considerations. A fixation with the past — particularly childhood, and images of dead ancestors — prevents anybody from influencing their own future or bringing anything interesting or new into their lives. It has turned Enrico into a bitter, almost emotionless shell, with a perverse obsession with his naïve young sister, whom he keeps trapped in childhood before brutally ’breaking her in’ and throwing her into her unwanted marriage to Dwayne Jones’s soulless pretty-boy Arturo. Mark Stone’s sense of bel canto legato leaves something to be desired, but the darkness in his voice makes his Enrico deeply nasty.
Edgardo is really no better. While Enrico’s reaction to his surroundings and the events of his past have turned him introverted and cruel, Edgardo has become careless, rash and impetuous, which ultimately makes him almost as responsible for Lucia’s fate as her brother. Barry Banks’s vocal and dramatic power belie his small stature; his presence is easily a match for Stone’s, and his final aria sequence is thrillingly, beautifully sung.
The Mad Scene (Anna Christy in foreground)
In the tile role, Anna Christy’s remarkable physical portrayal and crystalline soprano — not audibly marred by the bronchitis which had prevented her from completing the dress rehearsal — make her utterly convincing as this troubled, abused young girl. There is something other-worldly about her voice, and its partnership with the glass harmonica (restored to the Mad Scene as Donizetti intended) creates a chilling resonance. Although the libretto refers to her passionate nature, passion is lacking; she is more of a dreamer. We first see her perched at one side of a miniature stage, gazing obliquely at the closed curtain; she is discovered there again following Raimondo’s revelation that she has murdered Arturo, and during the mad scene, after the curtain is pulled back to reveal her husband’s bloodied body, she gradually retreats into the “stage” area as if it is the realisation of a long-held dream.
Tellingly, the blood which drenches Lucia’s and Arturo’s wedding-night garb is almost the first colour that’s been onstage all evening; it serves as both a coup de theatre and a symbol of Lucia’s release through madness from the bonds of her dead, grey, repressed surroundings.
Ruth Elleson © 2008