Recently in Performances
Los Angeles Opera's new production of Wolfgang Amadeus Mozart's The Magic Flute opened on November 23, 2013. Brought here from the Komische Oper in Berlin where it premiered last year, the production is a multimedia rendition in the style of the British theater group 1927.
As part of this year’s tribute to Benjamin Britten the Chicago Symphony Orchestra, Chorus, and soloists recently gave several performances of the composer’s War Requiem.
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
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Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).
At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.
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