Recently in Performances
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
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