30 Jul 2008
Baroque Oratorio Premieres in New Jersey
For two years, the subdued rumble of anticipation had been building to a forte.
Verdi Un ballo in maschera at the Royal Opera House - a masked ball in every sense, where nothing is quite what it seems. On the surface, this new production appears quaint and undemanding. It uses painted flats, for example, pulled back and forth across, as in toy theatre. The scenes painted on them are vaguely generic, depicting neither Boston nor Stockholm, where the tale supposedly takes place. Instead, we focus on Verdi, and on theatre practices of the past. In other words, opera as the art of illusion, not an attempt to replicate reality. Take this production too literally and you'll miss the wit and intelligence behind it.
Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.
Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.
For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.
O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.
Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.
On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.
John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.
Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.
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.
For two years, the subdued rumble of anticipation had been building to a forte.
Finally, on June 22, at the College of St Elizabeth in Morristown, New Jersey, the Baroque Orchestra of New Jersey presented the modern day premiere of Alessandro Scarlatti’s brilliantly operatic oratorio La Giuditta, here in its earliest and most complete form. Maestro Robert W. Butts edited Scarlatti’s masterpiece from the original 1693 manuscript which is currently in the collection of the National Park Service in Morristown, New Jersey.
Scarlatti’s La Giuditta exists in at least two other versions and has been performed and recorded based on a later abridged manuscript. The more extensive March 1693 manuscript used for Sunday’s performance, was brought to the attention of Maestro Butts by Dr. Jude Phister, Chief of Cultural Resources at the Washington’s Headquarters offices.
Maestro Butts brought the score he edited to life, conducting with sensuality and passion while directing the fluid sounding orchestra through the magical ritornelli which concluded each aria. Soloists from within the orchestra were, in places, almost as memorable as the vocal stars. Most notable was concertmaster Michael Avagliano who played a duet with soprano Marjorie Berg on the work’s most extensive aria ma so ben. He performed several other solo parts in collaboration with other musicians of the ensemble.
Providing poignant and moving melodic interest was Nancy Vanderslice who soloed on oboe and English Horn. Bassoonist Andrew Pecota was also solid both in continuo parts and his few solo moments. Harpsichordist John Pivarnik, too, added much to the success of the performance, constantly on deck and supporting the singers perfectly.
Baritone Mark Hewitt filled in at the last minute after two previous singers pulled out. While it is true that Mr. Hewitt had some problems in voice projection of the lowest tones required of his role as Oloferne, he still delivered a performance of notable dramatic intensity. His interaction with Marjorie Berg (Giuditta) was passionate and believeable. The result was something to be genuinely greatly appreciated.
Marjorie Berg gripped the audience with an emotionally involved portrayal of the title role. Have memorized her entire part, she sang with authority and character, conveying equally well the seductive nature and determination inherent in the part.
Bass John Lamb is a familiar face to early music audiences in the area. He executed the relatively small role of Sacerdote in solid vocal form, displaying an even tone appropriate to the gravity that infuses the character. Both arias and recitatives were sung with conviction and style.
Mezzo Teresa Giardina made her debut with the orchestra as Ozia, the beleaguered prince of Bettulia. Recently graduated from Ithica, Ms. Giardina sang with clarity and emotional beauty in arias of great depth. She was especially memorable in the moving addio libertai of the second act.
Tenor Daniel Foran sang the role of the Captain. His voice produced grace and an elegant warm beauty which was especially winning. Mr Foran has been a frequent performer with the Baroque Orchestra of New Jersey and this performance showed how he’s blossomed in his art. His rendition of dalla patria at the end of Act I was truly unforgettable. Hopefully, he will make the aria a part of his concert and recital repertoire!
Harmonium Choral Society, directed by Anne Matlack, joined in for the final celebratory choruses, adding luster and power to create a rousing finale.
Hearing this deeply moving performance, one can only hope that other singers and ensembles will take this marvelous work into their concert repertoire. The work is filled with beautiful music and is deeply dramatic, practically crying out for a staged interpretation. It was presented here for the first time complete in the modern era. One can only hope it won’t take another three hundred years to hear it completely performed again.