Recently in Performances
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
23 Jul 2008
First Night of the Proms
It’s not so long ago that the opening night of the Proms was given over to a single major choral work, but in more recent times it has become more of an overt opener to the season, presenting a taster menu of the themes running through the season’s subsequent 70-plus concerts.
Under their director Jiří Bĕlohlávek, the BBC Symphony Orchestra (with reinforcements from Royal College of Music Brass) opened the concert with Richard Strauss’s Festliches Präludium, a fine choice of overture for such an occasion, grandiose but joyful.
In the Mozart Oboe Concerto (K.314), soloist Nicholas Daniel was bright, witty and full of personality, with some beautiful pianissimi in the slow movement. The orchestral ensemble fell apart at the seams a little on more than one occasion, but overall it was a delight, not spoiled by the half-hearted applause between movements from somewhere in the upper reaches of the hall (which went on to mar the Strauss which followed).
Next on the bill were Strauss’s Vier Letzte Lieder, with a change of soloist: an indisposed Karita Mattila replaced by Christine Brewer. Brewer sings with the BBC SO fairly regularly, and she was a radiant Brünnhilde (in Götterdämmerung) last year at the Proms under Runnicles. Unfortunately, this time something didn’t quite come together – there was no sweep to the phrasing and her top sounded shrill under pressure. Finally in “Beim Schlafengehen” she found some complexity and ‘centre’, and for a few moments she cast a rapt spell... before heading off into “Im Abendrot” in indifferent, fudged German.
Although the Proms offer an eclectic mix of music spanning the breadth of the Western art music repertoire, with the occasional foray into other genres such as jazz, ‘world’ and folk, there are generally some threads to tie much of the season together. In particular, there is usually an attempt to celebrate significant anniversaries of composers’ births and deaths, and one such occasion for 2008 is the centenary of the birth of Olivier Messiaen – indeed, the Frenchman is virtually omnipresent over the course of the season, featuring in twelve more concerts ranging from solo organ works to a visit from the Berlin Philharmonic with the Turangalîla Symphony and a concert performance of the operatic magnum opus Saint-François d’Assise by the Nederlandse Opera.
To introduce the upcoming Messiaen-fest, the second half of the first-night concert was introduced by Wayne Marshall on the Royal Albert Hall’s mighty Willis organ in a fairly earth-shaking account of “ Dieu parmi nous”, the final episode from La Nativité du Seigneur.
Born just one day after Messiaen, the American composer Elliot Carter is still alive and – as far as I know – still composing, in his hundredth year. The UK première of his Caténaires was perhaps the highlight of the concert, a four-minute virtuoso perpetuum mobile for solo piano showing off Pierre-Laurent Aimard’s extraordinary ability. Prior to this, Aimard and the orchestra gave a light-footed and fresh performance of Beethoven’s Rondo in B flat major.
First Night of the Proms 2008
The Scriabin The Poem of Ecstasy, which concluded the evening was a well-chosen counterbalance to the opening Strauss – full of rich grandeur in brass and tuned percussion.
Ruth Elleson © 2008