Recently in Performances
Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.
Dystopic vision of Carmen, brought to life by vibrantly gripping performances
Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.
Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?
The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.
New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.
I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.
Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.
There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.
On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.
Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.
Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.
R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?
A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.
It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.
San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.
In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
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