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.
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