16 Mar 2008
Tristan und Isolde — The Metropolitan Opera
I bet this doesn't happen at the movies:
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
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.
I bet this doesn't happen at the movies:
As the flick begins, they announce that Matt Damon has a virus and had to leave; he's being replaced by someone who's never done the part before. But it's okay. Then, halfway through, Gwyneth Paltrow (the star) goes running off-screen, leaving the guy hanging in mid love scene. After a moment, the screen goes dark (but not before you saw the panic in his eyes). Pause. Then they announce Miss Paltrow is ill, and will be replaced by (name you never heard of). She wears the same dress and wig but doesn't look anything like her. She takes a while to warm up, but hey, Daniel Day-Lewis walks off with the character part anyway. (As you expected.) Somehow the kid gets through the big final scene, and the girl takes the climax. Thundering ovation. You never had that happen to you at the movies, did you? (Low class bastards.)
At the Met tonight, Tristan und Isolde. Rumors of doom had been circulating since the disastrous prima on Monday. Ben Heppner, virused up, has run back to Canada. (He's been cracking on all his high notes anyway.) The tenor who replaced him Monday was so bad, he was booed off the stage. (Ugly too, they tell me.) So tonight they found some kid who'd never sung Tristan before. Gary Lehman (this is a heldentenor?) We're all very hopeful. (Besides, Matti Salminen is King Marke, and bound to be a hit.) Peter Gelb, announcing the change, looks like he has veins of ice water and this happens all the time. The kid is tall, well built, looks like Errol Flynn, sings okay, acts okay, keeps an eye fixed on Jimmy. Then, halfway through the love duet in Act II, Debbie Voigt runs off stage. To get a drink of water I presumed. The tenor just sort of stands there, singing ardently to a blank stage, Jimmy keeps conducting ... the curtain comes down. Pause. Someone (not Gelb) comes out to say: Don't leave the room, Debbie's sick, some soprano no one has heard of (Janice Baird, and she IS on the roster) is getting dressed and will take over.
Of course she hasn't had time (much less a whole act) to warm up, but anyway: At last we get the duet again (which means the poor Tristan will be singing more of the opera in one night than ANYONE EVER HAS). Isolde finally warms up by the climax. Matti Salminen walks off with it, as I knew he would. In the intermission, my friend La Cieca (opera columnist a l'outrance, see www.parterre.com) says, "I'm speechless." I said, "Don't tell me we'll have to replace you too!" Well, Lehman sings Act III, the toughest workout for tenor ever composed. Doesn't sound fabulous, but he's okay. No cracked high notes. Isolde rushes in clumsily (she's never rehearsed), sings Liebestod. She's okay. Silence to the last chord.
Chaos: Standing ovation for the pair, then for the whole cast, then for Jimmy. It's 1 a.m. and nobody wants to leave without screaming. Nobody wanted to have been, for those six hours, anywhere else in the world.
I bet you've never been at a movie where this happened.