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Florilegium, Wigmore Hall

During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704). The work of these three composers may be less familiar to listeners, but Florilegium revealed the musical sophistication - under the increasing influence of the Italian style - and emotional range of this music which was composed during the second half of the seventeenth century.

Leoncavallo: Zazà - Opera Rara

Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà - a chanteuse raised from the backstreets to the bright lights - is a walking compendium of emotions. Ruggero Leoncavallo’s eponymous opera lives by its heroine. Tackling this exhausting, and perilous, role at the Barbican Hall, The soprano Ermonela Jaho gave an absolutely fabulous performance, her range, warmth and total commitment ensuring that the hooker’s heart of gold shone winningly.

L'ospedale - an anonymous opera rediscovered

‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.

Šimon Voseček : Beidermann and the Arsonists

‘In these times of heightened security … we are listening, watching …’

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.

Morgen und Abend — World Premiere, Royal Opera House

The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.

Company XIV Combines Classic and Chic in an Exquisite Cinderella

Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.

Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.

Great Scott at the Dallas Opera

Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.

Schubert and Debussy at Wigmore Hall

The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.

La Bohème, ENO

Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.

Luigi Rossi: Orpheus

Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).

64th Wexford Festival Opera

Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.

Christoph Prégardien, Schubert, Wigmore Hall London

Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .

The Magic Flute in San Francisco

How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.



Mary Stuart
02 Mar 2008

Mary, Queen of Scots (Maria Stuarda)

San Diego Opera apparently has raided the vaults of Lincoln Center opera companies, circa the 1970s.

Gaetano Donizetti: Mary, Queen of Scots (Maria Stuarda)

San Diego Opera
24 February 2008


The company opened the season with a rebuilt staging of the Metropolitan Opera's Tannhauser production from that era, and for their second production, they figuratively crossed the square for Ming Cho Lee's sets for Donizetti's Maria Stuarda (which San Diego Opera insists on calling Mary, Queen of Scots). The San Diego audience audibly appreciates a decent traditional staging, and even though Ming Cho Lee basically dressed up a spare uni-set with just a shift of platform here and a moody back drop there, the curtain for act one, scene two (after the first of two intermissions) drew a round of applause from the audience. The three scenes of act two came after the second intermission, and each necessitated the dropping of the curtain for a scene change, letting at least some of the drama evaporate. Perhaps a lighting cue would get the audience to shush before the conductor (the reliable Edoardo Müller) brought down his baton to resume the music.

Quibbles aside, San Diego Opera deserves an opera lover's gratitude for putting on Donizetti's historically corrupt but very entertaining spin on the sad fate of Mary. Admittedly, the opera's structure lacks a compelling narrative drive. In the first scene, Elizabeth the queen gives into the request of the Earl of Leicester to meet the imprisoned Mary, only because the Queen is smitten with the Earl. In scene two, Mary exults at a brief taste of freedom in the assigned meeting place. However, her pride will not let her humble herself before Elizabeth, and in one of opera's surprisingly rare cat fights, curses are soon flying through the air between the two ladies. This seals Mary's fate, of course, but the long second act drags it out unmercifully, although when the final scene finally takes the audience to the execution chamber, the opera's best music follows.

Kate Aldrich as Elizabeth started the show gunning her engines, and if her character didn't disappear after the first scene of act two, might have totally eclipsed Angela Gilbert's Mary. Aldrich sang out with vehement gusto, easily encompassing the role's vocal range. She had the fire for the confrontation scene and the dejected regret when she realizes the man she loves is in love with Mary. Gilbert took a while to warm up. Her chief vocal strength is her top, which she can float quite beautifully. But it is more of a technical feat than an artistic one, and the middle of the voice too often dropped under the orchestral fabric. That being said, Gilbert hit her stride in the long final scene, finding just enough color to hold the audience though the rather anti-climatic set pieces.

Reinhard Hagen's sturdy bass worked well in making a sympathetic Talbot, who tries to support Mary in her suffering. Andrew Greenan, as the "bad guy" Lord Cecil, urged on the audience's boos at curtain, knowing well that they indicated the success of his performance. In the tenor role of the Earl of Leicester, Yegishe Manucharyan pushed his attractive lyric voice to meet the occasionally forceful demands of Donizetti's writing, with intermittent success. A vertically challenged tenor in the classic mode, Manucharyan as costumed often looked as if he were the adolescent prey of two middle-aged female predators.

Word is that at the Metropolitan Opera, Peter Gelb has plans to revive not only this opera but the other two in Donizetti's "Three Queens" trio. After the rapturous applause that followed this San Diego performance of Mary, Queen of Scots, perhaps General Manager Ian Campbell will consider beating the Met to the punch.

Chris Mullins

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