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.
17 Mar 2008
Heggie faces family dilemma in new work
Do dysfunctional families outnumber the ones that move through life untroubled, or is it — to paraphrase Tolstoy — that every dysfunctional family is dysfunctional in its own way and thus of greater interest to writers and composers?
Since Agamemnon and Clytemnestra were at their Attic — and antic — best families in a fix have been a major source of raw material for creative artists. Thus it’s easy to understand Jake Heggie’s fascination with the Mitchells — mother “Maddy,” an ageing actress, her gay son Charlie and daughter Bea, wife of a wayward husband, the subject of “Last Acts,” a chamber opera premiered by the Houston Grand Opera on February 29.
The Mitchells are something of a special case, for not only are they a mess as a group, but individually as well. “Maddy” has concealed her husband’s suicide from her estranged children. Charlie, the younger, watches his partner die of AIDS, while Bea — her kids already in college — laments her husband’s philandering. Heggie found the Mitchells — the deceased husband, although absent from the work, is still part of the family — in “Christmas Letters,” a 2001 play by his frequent librettist Terrence McNally that was given a single reading at a New York AIDS benefit. Smitten by the story, the composer asked Gene Scheer to fashion a libretto from McNally’s text.
When Heggie is on stage there’s no “Capriccio”-style clamor — “prima la musica e poi le parole” — about words versus music. He’s a setter of words, a composer first of songs and then of operas and musical scenes, in which the text comes first. The new score is smooth and flows without huge ups and downs; an occasional nudge of dissonance might have made listeners more aware of the finely-wrought music they are hearing. Heggie makes it too easy for the audience, drawing them into the story with his refined sense of theater and allowing them to overlook the sophisticated music that he has written.
A young composer could not have wished for better on-the-job training than Heggie got when he joined the press wing of the San Francisco Opera in 1994. Just out of college with a stack of early songs under his arm, he was immediately involved in the company’s 1994 world premiere of Conrad Susa’s “Dangerous Liaisons.” It helped him hone the skills that led to the SFO commission — and premiere — of his “Dead Man Walking” in 2000. (It remains the most successful opera of the new century thus far.) And the star of the Susa cast was Frederica von Stade, who became Heggie’s friend, muse and mentor. Heggie pays homage to the legendary mezzo in “Last Acts,“ a two-hour study of the Mitchells’ woes.
Tailor-made for her, von Stade is in her element in “Last Acts,” performed on a largely bare stage with an ensemble of 11 instrumentalists on risers behind her. Cesar Galindo provided her with sumptuous gowns, and Brian Nason‘s lighting added to the effectiveness of shifting scenes. Von Stade relishes “Maddy” and she accounted for the success that the work was in the eyes — and ears — of the opening-night audience that packed the 1000-seat Cullen Theater in Houston’s Wortham Center. Indeed, if there is an inherent weakness in the work, it is in the undiminished vocal splendor and still ravishing beauty of the famous mezzo, for von Stade — now 62 — will never grow old. And although Heggie admits that he can see others in the role, “Last Acts” will survive probably only as long as von Stade is able to sing it, for the work is so uniquely hers.
In his HGO debut youthful baritone Keith Phares was a troubled Charlie, while Kristin Clayton was a trifle too matronly to be the daughter of ageless von Stade. “Last Acts” is more Broadway than Berlioz, and von Stade’s first-act “number” is the “hit” of the work. And while the opening act is somewhat bland, Heggie’s skill comes to the fore as the previously concealed truth about the suicide of husband/father is revealed in the second. In the well-balanced score each of the children has a major solo scene. Heggie writes “big” music, even when composing for chamber forces. “Last Acts” is lush and listenable, warm and warming; it’s accessible and affirmative in gesture. Although “Maddy,” affirming that it’s the truth that makes us free, concludes that everything “is going to be alright,” one must wonder whether Heggie — and Scheer — have not made things a bit too simple.
The audience is asked to accept that “Maddy” went on stage to put food on the table and shoes on little feet. No one asks whether she, convinced that “truth could only be touched by imagination,” was in the beginning the constant wife of which everyone dreams. Did she perhaps conceal too much in finding “a version of our lives that we could all live with?” Does “Last Acts” suggest that there is a [italics] truth, rather than the [italics]? Is this not rather a further “take” on life as a stage, in which fiction substitutes for fact? (Not to be overlooked, of course, is the fact that Heggie’s father killed himself when his son was 10.)
HGO music director Patrick Summers conducted from one piano; Heggie was at a second.
Commissioned by the HGO in association with San Francisco Opera and Cal Performances, “Last Acts” will be titled “Three Decembers” in future performances. Heggie has been commissioned to write a new work on “Moby-Dick” to open the Margot and Bill Winspear Opera House, the new home of Dallas Opera, on April 30, 2010.