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Vividly gripping drama is perhaps not phrase which you might expect to be used to refer to Bellini's I Puritani, but that was the phrase which came into my mind after seen Annilese
As part of their Madness season, presenting three very contrasting music theatre treatments of madness (Handel's Orlando, Bellini's I Puritani and Sondheim's Sweeney Todd) Welsh National Opera (WNO) presented Handel's Orlando at the Wales Millennium Centre on Saturday 3 October 2015.
Benjamin Britten met Mstislav Rostropovich in 1960, in London, where the cellist was performing Shostakovich’s First Cello Concerto. They were introduced by Shostakovich who had invited Britten to share his box at the Royal Festival Hall, for this concert given by the Leningrad Symphony Orchestra. Britten’s biographer, Humphrey Carpenter reports that a few days before Britten had listened to Rostropovich on the radio and remarked that he ‘“thought this the most extraordinary ‘cello playing I’d ever heard”’.
Sir John Falstaff appears in three plays by William Shakespeare: the two Henry IV plays and The Merry Wives of Windsor.
The opening performance of the 2015-2016 season at Lyric Opera of Chicago was the premiere of a new production of Mozart’s Le nozze di Figaro under the direction of Barbara Gaines and featuring the American debut of conductor Henrik Nánási.
Opera Philadelphia mixes boutique performances of avant-garde opera in a small house with more traditional productions of warhorse operas performed in the Academy of Music, America’s oldest working opera house.
Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
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