03 Mar 2008
Los Angeles Opera: March 1 & 2, 2008
James Conlon has become the artistic heart and soul of Los Angeles Opera in his second season as music director.
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
James Conlon has become the artistic heart and soul of Los Angeles Opera in his second season as music director.
He almost unfailingly appears at the pre-lecture of every opera he conducts, to speak with keen intelligence and insight about the particular opera and its composer. As a conductor, although he may not have the most distinctive interpretative profile, he has the LAO orchestra unfailingly play for him with passion and precision.
For years Conlon has cherished a dream of staging some of the works of those composers whose careers - and often, lives - were devastated by the Nazi regime. Last season, the "Recovered Voices" series began with a concert of excerpts from several of these composers, as well as a semi-staged performance of Alexander Zemlinsky's A Florentine Tragedy. For 2007/08, LAO scheduled four performances of a double-bill: Viktor Ullman's The Broken Jug, a comic piece that runs for under 40 minutes, and Zemlinsky's The Dwarf, an adaptation of an Oscar Wilde short story. The third of four performances took place Saturday, March 1st.
The program notes highlight the tragic irony that Ullman wrote the comic The Broken Jug in a concentration camp, not too long before his death. At the pre-lecture Conlon's interviewer tried to suggest a deeper theme of the corruption of power in the story of a judge who turns out to be the culprit in the case of the shattered family heirloom of the title. The judge seems to have basically planned a sexual assault on a beautiful young girl, only fleeing the scene (and in the process breaking the jug and losing his powdered wig) when her burly fiance showed up. Although Ullman's music bubbles cheerfully, very little that is actually amusing occurs, and the story plays out like a pale copy of Chaucer. James Johnson tried to ham it up as the Judge; there just wasn't much for him to work with. In fact, the show was at its best in a clever dumbshow played out in silhouette during the overture.
At 80 minutes, Zemlinsky's The Dwarf would not have made for a full evening in a temporal sense, but artistically, it more than compensates for its relative brevity. Wilde's story echoes elements of his Salome. A beautiful, spoiled princess, accustomed to getting what she wants, ends up destroying the object she claims to cherish above any other. Instead of being crushed by the shields of Roman soldiers, the Princess of The Dwarf walks callously away from the body of the broken-hearted dwarf, a birthday gift from a Sultan. The dwarf has made it through life deluding himself about his misshapen appearance, believing the reflection he has caught glimpses of to be that of an evil nemesis. When the princess cruelly provides him with a mirror that denies him the refuge of his delusion, the dwarf, who has fallen in love with the princess, collapses in horror.
Ralph Funicello's gorgeous set stacked a tiered outer ring of gray and green marble, with gold gilt highlights, around a lower center platform. Staging the appearance of the dwarf makes for a tricky challenge for the director. For quite a while, Darko Tresnjak kept Rodrick Dixon, a man of typical tenor stature, crouched in the silver crate that serves as his gift box. Eventually Dixon emerges, but by then he has established his character through his singing, and the other performers can takes their places on the higher levels of the tiers surrounding the lower center stage. Zemlinky's incredibly rich, imaginative scoring sometimes proved too heavy in texture for Dixon, especially when the singing line dropped into his weaker low range. But Dixon's top notes were solid and powerful, and as an actor he surmounted the role's challenge of blending the audience's predisposition for sympathy toward the character with the sharp depiction of the dwarf's warped self-perception. Simply put, Dixon triumphed.
Mary Dunleavy sang with the appropriately bright, superficial beauty of her role: a shallow, pretty princess. As her favorite maid, Susan B. Anthony etched a strong character in just a few moments, a woman who knows the defects of her mistress and sees the tragedy coming, while being helpless to prevent it. The audience rewarded her performance with a very warm reception at final curtain. But the biggest hand went to Conlon, who appeared not from the wings but from the rear of the set, a choice that highlighted his "starring" role in the show. Though not melodically memorable, Zemlinsky's score meets every challenge of the drama, with orchestral color and drama. One acts are notoriously difficult to program, but Zemlinky's The Dwarf surely should be staged more often. Though it would make for a longish evening, a pairing with Straass's Salome would surely make an amazing evening.
The next afternoon Conlon returned to conduct Verdi and Boito's Otello, using a Johan Engels staging borrowed from Monte Carlo and Parma, directed by John Cox. Conlon started the storm music with brash volume, and unfortunately, no subtlety followed in the performance that followed. Engels's set suggests the bowl-shaped floor of a ship, with two concrete culverts on either side for entrances and exits. The basic set gets dressed up for each scene change but remained static and uncommunicative, though not without a decorative visual appeal.
Anyone who has seen video clips of Ian Storey in the recent La Scala Tristan und Isolde, under the direction of Patrice Chereau, knows that the man can be an potent actor, although his capable vocal instrument lacks any interesting colors. However, Cox did not find a way to bring out Storey's best. A large man, Storey never seemed imposing, and from the beginning his Otello proved to be no match for Mark Delavan's malevolent, brutal Iago. Even Cristina Gallardo-Domas, a couple feet shorter than Storey, had more presence. The resulting imbalance drained much drama from the afternoon, with that deadly "going through the motions" feeling settling in. Despite some impressive notes here and there, Storey could not deliver with consistency. While effective as an actress, Gallardo-Domas's voice too easily slipped into a dismaying vibrato. Delavan powered his way through Iago's music, effectively if unsubtly.
In a program note, Conlon writes that "despite all the possible dramatic misadventures or vocal inadequacies, [Otello] cannot fail because it is so perfectly conceived..." So if this LAO Otello cannot be called a failure by those terms, at least it has to be called a disappointment.
But The Dwarf made the weekend at the Dorothy Chandler worthwhile. In next year's Recovered Voices program, Conlon conducts Walter Braunfel's The Birds. Anticipation builds from this moment.