Recently in Performances
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent. Holten connects Der fliegende Holländer to Der Meistersinger von Nürnberg and even to Parsifal by bringing out sub-texts on artistic creativity and metaphysics. And what amazing theatre this is, too, and very sensitive to the abstract cues in the music. .
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
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.