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The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
13 Jul 2008
CANDIDE – English National Opera, London Coliseum
Originating at the Châtelet, where the narration was given in French, Robert Carsen's staging of Bernstein's unique satire worked rather well in its television broadcast from the Parisian house late in 2006.
It is set inside a giant television in America at some unspecified point in the 1950s or 1960s (though there are references to events spanning the past sixty years), one conceit of the production is that Candide's childhood home is the White House, and his adoptive parents the President and First Lady. Voltaire's imaginary land of Westphalia becomes 'West Failure', an overt joke at the expense of the US, and Pangloss's unfailingly 'optimistic' philosophical teachings become an all-too-recognisable depiction of a country whose administration prefers to brainwash its younger generation into acceptance and support of its professed moral and religious values while employing questionable (and often downright hypocritical) ethical practices both at home and in its foreign policy.
The overture is accompanied by a film depicting various aspects of American life, principally the ‘American Dream’. It was an inventive compilation with each new musical theme coinciding with a new theme in the film: the fast tune from ‘Glitter and be Gay’, for example, took us to the glamour of Monroe-era Hollywood, and the splash of the final cadence became an exploding Coca-Cola sponsorship logo. We are then introduced to Act 1 by a cartoon Voltaire giving a wink and a one-fingered salute in the manner of a Monty Python animation vignette.
The deeply cynical operetta juxtaposes sunny innocence and the worst excesses of human darkness right from the start, with Pangloss and 'Voltaire' (both roles played by the singing actor Alex Jennings) blithely recounting the young protagonists' encounters with military brutality, massacre and rape as though it were a natural progression from the privileged idyll of the opening scene. The characters hop from country to country, meeting appalling fate after appalling fate and somehow always coming out the other side. Almost all the characters have a surreal habit of surviving their own deaths on multiple occasions; all in all nothing much ever changes in the world, no matter how great the growth in wisdom and self-knowledge of its individual citizens.
Rumon Gamba's conducting was often rather pedestrian, but the cast was reasonably strong. In the title role, Toby Spence was soulful and likeable, his boyish blond looks and clear tenor ideal for the gullible hero. In appearance and character he was well-matched by Anna Christy's Cunégonde, though the amplification system was unkind to her very focussed glassy soprano and she was often shrill (though at least her American accent is natural; the rest of the cast had varying degrees of success with theirs.) Mairéad Buicke's Paquette was lively, and Mark Stone's Maximilian was the most attractive voice on offer. Beverly Klein supplied the best all-round value as the Old Lady; her tango number 'I am easily assimilated' was the most successful set-piece of the evening, more so even than the more obviously showy 'Glitter and be Gay'.
Toby Spence as Candide & Anna Christy as Cunegonde
The main problem with the staging is that the concept – while supplying good value in terms of funny situations and surreal humour – rides roughshod over the wit and satire in the piece itself. A stab at 21st-century topical comedy – with a parade of five contemporary politicians lazing on inflatable mattresses atop an oil slick – fell absolutely flat, and should be consigned to the cutting-room floor before the production travels any further. Furthermore, the characters remained cartoonish and two-dimensional, and I never felt much sympathy for any of them – the plot relies upon each person being a blend of the positives and negatives of humanity. There were certainly a few real belly-laughs over the course of the evening, but ultimately it was a superficial affair.
Ruth Elleson © 2008