Recently in Performances
Die Meistersinger at the theatre in which it was premiered, on Wagner’s birthday: an inviting prospect by any standards, still more so given the director, conductor, and cast, still more so given the opportunity to see three different productions within little more than a couple of months).
Opera houses’ neglect of Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life. From the House of the Dead might do likewise for someone of a rather different disposition, sceptical of opera’s claims and conventions.
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
19 Aug 2008
Prom 18 — L’Incoronazione di Poppea
Glyndebourne Festival Opera’s annual appearance at the Proms is always an eagerly-awaited event, but there is a varying degree of success with which the productions adapt from a full staging at Glyndebourne to a semi-staging suitable for the small platform and cavernous space of the Royal Albert Hall.
Richard Jones’s production of Macbeth last year,
whose big blocks of set and full-chorus choreography didn’t made it to
the Proms, ended up a shell of its former self, and the voices that had
sounded impressively powerful in the intimate Sussex theatre were, if not
lost, then at least diminished in effect when transferred to the Hall.
The fact that Robert Carsen’s production of
L’incoronazione di Poppea was relatively austere to begin
with, starting off at Glyndebourne with little more on stage than a big red
curtain, meant that it was destined from the start to transfer successfully
to the Proms, in a semi-staging by Bruno Ravella.
Alice Coote as Nerone
The central relationship between Nerone and the upwardly-mobile sex kitten
Poppea was portrayed quite unconventionally. The two began the opera drunk
with lust and longing for one another, but as the drama progressed, it was
clear that Nerone was gradually becoming aware that Poppea’s lust for
power and position had overtaken any genuine love towards him. His resentment
grows to the point that as he promises to make her Empress, he barely stops
himself from striking her – and though he still cannot resist her, most
of the final duet was sung from opposite sides of the stage, with the two
hardly looking at one another. Poppea gets what she wanted, but for Nerone
it’s an empty celebration.
As thought-provoking as it was to see their relationship from that angle
it isn’t a concept that’s borne out by the music. From the very
beginning, we are told in no uncertain terms that it is going to be a victory
for Love over both Virtue and Fortune, and at the end the sinuous
intertwining lines of ‘Pur ti miro’ are clearly a musical
evocation of a couple united in erotic love. Though historical sources relate
that Nero later killed Poppaea by kicking her in the stomach while pregnant,
this is not something that casts a premonitionary shadow over
Monteverdi’s score. It is not even an idea which sits well within this
staging, given the constant presence of Cupid (Amy Freston) as a sort of
master of ceremonies.
In other respects it was a lively performance, with the comic episodes
brought off really sharply. The two Nurses were both sung by men in drag
– Poppea’s nurse Arnalta was the larger-than-life tenor Wolfgang
Ablinger-Sperrhacke, while Ottavia’s nurse, sung by counter-tenor
Dominique Visse, was a more subtle creation, all pursed lips and disdaining
looks. The interchange between the Page (Lucia Cirillo) and the Damigella
(Claire Ormshaw) was brought vividly to life.
Scene from L’Incoronazione di Poppea
Musically, Emmanuelle Haïm and the Orchestra of the Age of Enlightenment
never let the lengthy score drag, and the cast was very strong, with Alice
Coote’s smoky-voiced Nerone particularly striking. Besides Coote, the
other vocal highlight was Tamara Mumford’s warm-voiced, impassioned
Ottavia, even if Nerone’s complaint about her ‘barren
frigidity’ raised a laugh thanks to Mumford’s advanced stage of
pregnancy. The role of Poppea seems to lie well for Danielle de Niese’s
soft-grained soprano, and she looks wonderful although she does have a
tendency to overact. Only Paolo Battaglia, as Seneca, sounded dry and uneven,
though I did find myself wondering, given the forces – a chamber
orchestra and smallish voices – quite how successful I would have found
the performance if I’d been sitting up in the rear of the Circle or
standing in the Gallery.
Ruth Elleson © 2008