Recently in Performances
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
13 Jul 2008
Grant Park Music Festival: “20th-Century Masters.”
The concert “20th-Century Masters,” presented by the Grant Park Music Festival, Chicago on 27 and 28 June 2008 featured several pieces performed for the first time under the auspices of the Festival.
The first half of the
program was devoted to those very works new to this venue: The Fantasia
on a Theme by Thomas Tallis for Strings by Ralph Vaughan Williams was
followed by Les Illuminations by Benjamin Britten, here sung by
Karina Gauvin with accompanying string orchestra. Both works were given
thoughtful and well-focused performances under the direction of Carlos
Kalmar, Principal Conductor of the Grant Park Music Festival. After
intermission Béla Bártok’s Concerto for Orchestra added yet
another dimension to the variety encompassed in this program of innovative
works composed during the first five decades of the past century.
The soft beginning of Vaughan Williams’s Fantasia indicated,
from the start, a controlled and sensitive performance by the string sections
under Kalmar’s leadership. The clarity of playing by individualized
segments emphasized the effect of groups within a larger composition. In the
first part of the piece the alternations between smaller string groups and
full orchestra were seamless. As an ensemble, the players succeeded in
emphasizing the harmonic complexity of Vaughan Williams’s own variations
balanced against the theme derived from Tallis. During the middle section of
the Fantasia the solo playing, especially by the lead violist and
principal violinist, achieved a thematic counterpoint and repetition as
echoed by other players with successive support from the whole orchestra.
Just as individual lines were varied leading into the final segment, one
could sense Kalmar’s shaping of the gradual descent into a distended
conclusion. A final flourish of melodic repeat by soloists as well as the
full orchestra moved with great effect toward the inexorable and fittingly
The following work in the program, Britten’s Les Illuminations,
was noteworthy for its committed performances by both vocal soloist and
accompanying players. From the first declaration of the repeated verse
“J’ai seul la clef de cette parade” (“I alone have the key to this
parade”) Karina Gauvin established a tone of authority and privileged
vision of the world about which she sang. Set to a selection of texts derived
from two poetic cycles by Arthur Rimbaud, Britten chose poems which move in
tone from that of an ecstatic visionary to a mood of dejected resignation.
Gauvin used her secure vocal range to stunning effect in order both to
comment with the ironic distance of an observer’s voice and to fill out
individual roles or types portrayed in the vision she narrated. After the
introductory “Fanfare,” distinguished by Gauvin’s memorable phrasing
and the violin’s solo, the extended section “Villes” (“Towns”)
depicted humanity caught up in both progress and decay as a symbol of the
contemporary city. As she intoned here the litany of contrasts between the
ancient and the modern, Gauvin accelerated in tempo to catch the near
breathless depiction of lyrical complexity. While hovering above society in
the poem “Phrase” (“Strophe”), the soprano’s quiet introductory
tones were capped by the impeccable high notes of the concluding “et je
danse” (“and now I dance”). Gauvin adapts her voice to the spirit of
each piece, so that she gave an, at times, bell-like rendition to the poem
“Antique” (“Antiquity”), whereas softer, more lyrical phrasing was
evident in “Royauté” (“Royalty”). The movements of a boat’s prow
rising and falling in “Marine” (“Seascape”) were effectively matched
by Gauvin’s effortless scales and runs, the piece ending with a single,
emphatic note on the last vowel of “tourbillons de lumière”
(“whirlpools of light”). The struggles between elemental nature and human
efforts, foolish and tawdry, come to a resolution in the final two poems,
“Parade” and “Départ” (“Departure”). In the first of these
pieces Gauvin’s communication of emotion through song was illustrated
repeatedly. Her skill at acting was also clear in a phrase such as “la
grimace enragée” (“the furious grimace”), in which rage seemed to
suffuse her glance. The song ended with Kalmar’s especially sensitive
direction of the strings supporting Gauvin in the last repetition of the
“key to this parade.” The concluding poem “Départ” gave the singer
yet further opportunity to display lyrical differentiation as tempos slowed
gradually toward a resigned statement of weariness in the phrase “Assez
connu” (“Enough known”). It should be noted here that Gauvin sang the
text of the entire work from memory.
The final piece of the evening, Bártok’s Concerto for
Orchestra, was given a masterful interpretation under Kalmar’s
direction. After a subdued start in the opening Andante, individual
sections of the orchestra blended effectively without sounding overly
controlled. The string section was brought to a shimmer before the dramatic
ending of the first movement. In the second movement, Allegretto
scherzando, the paired instruments played in skillful duets, the
bassoons standing out here especially. The final three movements, each shaped
in keeping with Bártoks’s markings, showcased individual groups of
instruments as punctuated by sweeping phrases from contrasting sections of
the orchestra. The intensification of the final movement was not only
credible, it also brought the individual sections back to a unified
orchestral force. The performance was a fitting conclusion to the evening as