Recently in Performances
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.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
30 Jul 2008
The Pilgrim's Progress at Sader's Wells
The Philharmonia Orchestra has made a far more comprehensive effort than any other British ensemble to celebrate the 50th anniversary of the death of Ralph Vaughan Williams, with concerts taking place over the course of seven months in London, Leicester and Bedford including a complete symphony cycle.
The centrepiece of this season, entitled 'Vaughan Williams: The Pioneering
Pilgrim' were two semi-staged performances of the composer's Bunyan opera
'The Pilgrim's Progress' at London's Sadler's Wells Theatre, dedicated to the
memory of the composer's wife Ursula who died last year. Conductor Richard
Hickox has a real passion for English music, particularly opera, and it was
heartening to see him championing such a rarely-performed stage work.
Devised as a depiction of a generic spiritual journey towards
enlightenment rather than a specifically Christian one (the composer was an
agnostic), the opera (or rather, as it's labelled, the 'morality') is
nonetheless rooted in Biblical texts and Christian hymn-tunes. In fact it is
reminiscent of Elgar's 'Dream of Gerontius' in its tableaux of the
progression of a soul through trials and tests to its ultimate goal, and thus
seems closer to oratorio or cantata than opera, with elements of the pageant
and the mystery-play thrown in. In David Edwards' simple semi-staging,
movement was kept to a minimum, with most of the more abstract characters
moving in a slow, flowing manner as if the motion could be stopped at any
moment to create a freeze-frame of an 'event' in the Pilgrim's travels. On
the one hand, it is a shame that a full staging was not on offer; on the
other, it is a naturally static piece and thus well-suited to this kind of
The ostensible narrator is John Bunyan, sung here by baritone Neal Davies:
though he only in fact appears to frame the piece with a Prologue and
Epilogue, it gives the impression that we are seeing everything through his
own eyes and imagination. The staging had him discovered onstage as if
asleep, ready for his opening line, 'So I awoke, and behold it was a
The cast was made up of a distinguished inventory of mainly British vocal
talent, including most of Hickox's regular collaborators, led by Roderick
Williams as the eponymous Pilgrim, and even extending to Hickox's son Adam as
the (poorly amplified) Woodcutter's Boy. There were some welcome additions
from guest artists in multiple roles, especially the menacing Gidon Saks as
Lord Hate-Good (a disembodied voice over a speaker system from offstage). The
single scene of sardonic comic relief was delivered with aplomb by Richard
Coxon and Andrea Baker as Mr and Madam By-Ends.
Williams's central performance was remarkable; something about his stage
persona is both innocent and timeless, and his singing was always assured
– despite all the obstacles in his path, the Pilgrim never outwardly
falters. His unfailingly beautiful singing was especially impressive in the
role's emotional heart – the monologue based around a passage from
Psalm 22, when the Pilgrim is in prison expecting death. Part-soliloquy,
part-prayer, it is the only time we ever see the turmoil within the Pilgrim's
soul before he realises that his means of escape has been within reach all
Hickox's conducting had a majesty and beauty which made as persuasive a
case for the score as it is ever likely to get, while Philharmonia Voices
– the orchestra's ad-hoc professional choral outfit – managed to
go from being properly lively and vociferous (in the Vanity Fair scene) to
radiantly angelic (in the heavenly passages).
Ruth Elleson © 2008