Recently in Performances
It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.
Based on a play, Chrysomania (The Passion for Money), by
the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.
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