Recently in Performances
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.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
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