16 Mar 2008
Tristan und Isolde — The Metropolitan Opera
I bet this doesn't happen at the movies:
Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.
Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.
Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.
Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.
Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.
Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.
For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.
O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.
Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.
On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.
John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.
Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.
After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
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.