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Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
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