Recently in Performances
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.
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.
‘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.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
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.
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’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
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.
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
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.
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 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.
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.
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.
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
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).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
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. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
06 May 2008
Punch & Judy at ENO
English National Opera’s production of Harrison Birtwistle’s ‘Punch and Judy’ is the company’s second collaboration with the Young Vic Theatre — following the premiere of Neuwirth’s ‘Lost Highway’ a few weeks earlier — and remarkably, also the second London production of this early Birtwistle work within a month, the previous one having been at the Linbury Studio Theatre, a collaboration between Music Theatre Wales and the Royal Opera.
ENO has one particular coup up its sleeve. There can be few singers as
well-suited to the grotesque, tragic-comic figure of Mr Punch as the baritone
Andrew Shore, one of ENO’s most distinguished regular guests and a
first-rate singing actor. In full puppet costume, he is the cross between a
naughty child, a vicious murderous thug and a sinister nightmare figure
— a nightmare which eventually implodes on him with the full force of
half-a-dozen Punch clones and the ghosts of his victims.
Giles Cadle’s set and costume designs go all-out to replicate the iconic
‘Punch and Judy show’ look, in primary colours that look slightly shabby and
sun-bleached. The stage is a circus-ring with a canopy of brightly-coloured
fairy lights. But at the back, a freshly-dug grave is a reminder of the
macabre inevitability with which Punch’s serial murders will be carried
Ashley Holland strikes an imposing figure as the Choregos, a Greek
chorus-like figure who acts as a master of ceremonies, a narrator and moral
judge, but who falls victim to Punch just like all the others. It is the
Choregos and his murder that first blur the distinction between make-believe
and reality, an idea which Daniel Kramer’s staging takes further by stripping
away the puppet-costumes from the protagonists as events progress and the
moral themes of the piece are developed. Most — including the Doctor
and Lawyer, played by Graeme Broadbent and Graham Clark respectively —
reach this state of human nakedness at the point at which Punch kills them.
As for Punch himself, by the time he comes to feel remorse for the murder of
his baby — the first of his crimes — he is no more than a bald,
half-dressed, vulnerable human being. Only Gillian Keith’s ringletted,
hyperactive doll of a Pretty Polly remains in ‘character', a fantasy figure
to the last.
Birtwistle’s brutally uncompromising score — which supposedly upset
Benjamin Britten so much at the work’s premiere that he walked out of the
performance — is usually subtle and understated, atonal but far from
tuneless. It juxtaposes banal nursery-ditties with ‘Passion chorales’ and
tragic monologue. The insouciance of the little motif with which Punch shrugs
off each murder strikes a vivid contrast with the murdered Judy’s plea for
Punch’s reform, sung by the versatile American mezzo Lucy Schaufer.
Credit is due to the cast for managing to get the majority of Steven
Pruslin’s wordplay-filled libretto across, and to conductor Leo Hussain
(sharing the opera’s five-night run with ENO’s Music Director, Edward
Gardner) for maintaining such dramatic coherence in the music.
A scene from Punch and Judy
Ruth Elleson © 2008