Recently in Performances
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.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.
Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
06 Apr 2008
ANNA BOLENA – English Touring Opera
In a climate in which bel canto opera seems to be enjoying a steady and welcome revival, ETO opened their current season with a welcome production of Donizetti's historically dubious account of the latter days of Anne Boleyn. The company's...
In a climate in which bel canto opera seems to be enjoying a steady and
welcome revival, ETO opened their current season with a welcome production of
Donizetti's historically dubious account of the latter days of Anne Boleyn.
The company's fine Maria Stuarda three years ago is still fresh in the
memory, and one wonders whether the company might be brave enough to complete
the 'set' with a staging of Roberto Devereux before too long.
The basic framework of Soutra Gilmour's versatile set serves all three
productions on the current tour, and for this opera the set's skeleton had
tapestry panels mounted upon it which slid in and out of place to create
different spaces and enable characters to conceal themselves from one
In the title role, Julie Unwin grew in confidence and vocal security as
the evening progressed – at the start her tone, dynamics and vibrato
overpowered the musical line a little, but by the middle of the first act she
had settled into it and she gave a particularly convincing performance in the
lyrical moments of the later scenes.
She was, however, overshadowed by outstanding performances from two
colleagues: Julia Riley's Jane Seymour was rich-voiced, elegant, poised,
passionate and credible – and although Luciano Botelho's dryish tenor is
not quite beautiful, he made almost effortless work of Lord Percy's
stratospherically high-lying passages. I suspect that this is one of those
roles which, when sung even half-decently, is guaranteed to bring the house
down – however Botelho really did deliver it with style and panache.
In fact, while most ETO offerings boast one or two particularly strong
performances, I forget the last time they fielded such a strong all-round
cast. Former ENO principal Riccardo Simonetti was a commanding Henry VIII,
while Jonathan Pugsley's Lord Rochford and Serena Kay's Smeaton were also
Performing in an orchestration which suits the forces available (and with
several cuts to the score) the company has put together a fine orchestra this
time around, too, with some particularly good woodwind – Michael Lloyd
ETO's decision to perform in the original Italian – a rare exception to
their usual English-language policy – was perhaps a wise one, as this
repertoire benefits from the Italian vowel sounds combined with the bel canto
melodic lines. However the scrolling surtitles were laughable, full of
misspellings and oblivious to what might unintentionally cause amusement. But
overall this is a creditable account of an opera which has been unjustly
neglected in the country from which it takes its inspiration.
Ruth Elleson © 2008