Recently in Performances
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.