Recently in Performances
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
10 Feb 2008
Madam Butterfly at ENO
Anthony Minghella's visually-arresting staging, a co-production with New York's Metropolitan Opera and the Lithuanian National Opera, returned this month to its original home at the London Coliseum after a gap of two years.
Michael Levine's set designs and Peter Mumford's lighting are utterly beautiful, from the floating lanterns and curtain of flowers which descend upon Butterfly and Pinkerton on their wedding night to the dramatic brush-stroke effect of the unravelling of Butterfly's crimson obi at her suicide. Despite Minghella's film credentials, it is not a cinematic approach as such, though the steep rake and the giant mirror above the stage create a 'widescreen' effect which suits the shape of the Coliseum's stage and concentrates the eye.
Although the staging keeps Pinkerton as very much a one-dimensional character, the production's Bunraku puppetry – expertly supplied by Blind Summit Theatre – gives the audience a little glimpse into the beliefs and perceptions which cause him to act the way he does. The exquisitely lifelike puppets, most notably used to portray Butterfly's son, blur the boundaries between artifice and reality, and it becomes almost easy to accept Pinkerton's perception of the Japanese as pretty playthings, not quite real. Sometimes the puppets seem more natural than the human performers.
Indeed, there is a risk with such a staging that it could sacrifice substance for style, and as such it needs a very strong cast to balance it out and reach the heart of Puccini's opera . I confess I was apprehensive about Judith Howarth's debut in the title role, as her (very successful) career has been almost entirely in the lyric coloratura repertoire. I need not have worried; the soft-grained, pearly quality of her soprano, though not the sound we are used to hearing in the role, proved equal to Puccini's characteristically heavy scoring and an appropriate timbre for this most youthful of operatic heroines. Her stage presence and mannerisms were just as credible, and she was shattering in her vulnerability. It was perhaps a misjudgement to pair her with as vocally powerful a Suzuki as the excellent Karen Cargill, but this is really a minor criticism.
As Pinkerton, Gwyn Hughes Jones, returning from the original run of the production, was in fine voice. He was allowed 'Addio, fiorito asil' despite the modern fashion to do without it, but it seems superficial. Sharpless – the one character who can see the situation from every angle and is left with the responsibility for damage limitation – was given a warm and dignified portrayal by Ashley Holland.
Gwyn Hughes Jones as Pinkerton / Ashley Holland as Sharpless
Musically this revival was in every way superior to the original run in 2005. David Parry was once again in the pit, giving a sensitive and never self-indulgent reading of the score. Words came across well, except in parts of Act 1; members of ENO's chorus made clearly-defined characters of their cameo roles as wedding guests. But above all it was a remarkable personal triumph for Judith Howarth.
Ruth Elleson © 2008
Karen Cargill as Suzuki / Judith Howarth as Madam Butterfly