Recently in Performances
Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
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.
26 Aug 2008
Prom 34 — Puccini's Il Tabarro; Rachmaninov's Symphony no. 1
In a nod to the 150th anniversary of Puccini's birth, the Manchester-based BBC Philharmonic Orchestra visited the Proms with their chief conductor, Gianandrea Noseda, for a performance of the first opera of Il trittico.
Although it's often labelled as a melodrama, Tabarro is more subtle than that – a study of unfulfilled, rootless people – and even besides the obvious orchestral sound-effects like the boats' horns and out-of-tune barrel-organ, the musical scene-setting has an impressionistic colour palette unmatched anywhere else in Puccini's canon. This strong and richly evocative raw material gives the opera an advantage in holding its own when scenery and costumes are stripped away and the piece is presented in concert form, as it was here.
Lado Ataneli's Michele was a bit stiff – the traditional concert dress of white tie and tails really doesn't encourage dramatic verisimilitude – but if anything this added to his portrayal of a man who has found himself the wrong side of an emotional barrier in his marriage. Barbara Frittoli conveyed youth more readily than the heavier lirico-spinto sopranos conventionally cast as Giorgetta, and she made a beautiful sound, remaining fully in character even when not singing. There was a warmth to her portrayal which gave a real sense of how out of place this young and passionate city girl is in her life of drudgery in the harsh world of the stevedores. Together, their vocal partnership was ideal; Ataneli's baritone had a dry darkness which only blossomed into warmer lyricism during his plea for Giorgetta to spend the evening with him as in days gone by, while at the same moment, Frittoli's expansive lyricism gave way to a colder, harsher delivery.
The Slovakian tenor Miroslav Dvorsky's full-force singing – sometimes to the extent that he cracked fortissimo high notes – had a brittleness which suited the embittered Luigi.
The smaller, 'character' roles were luxuriously cast, with Jane Henschel as Frugola, Barry Banks as Tinca (hamming up the waltz scene for all it was worth) and Alistair Miles as Talpa. The programme notes gave the names in their literal English translations – Ferret, Tench and Mole. Allan Clayton as the Ballad-Seller and Edgaras Montvidas and Katherine Broderick as the young lovers all gave good lyrical value.
Prior to the interval, the curtain-raiser – which, although it is perhaps unfair to refer to it so dismissively, is how it felt – was Rachmaninov's first symphony, a work which the 22-year-old composer considered a disaster at its premiere, and of which he remained deeply critical throughout his life. Here, after some fluffs and ensemble problems at the start of the opening movement, the BBC Philharmonic made a persuasive case for it; it had a propulsive energy and drive, and it is difficult to imagine any of the BBC's other orchestras producing such a forceful and rich brass sound in the cross-rhythmed fanfares of the last movement.
We had Gianni Schicchi at the Proms in 2004, also paired with a Rachmaninov piece – his opera The Miserly Knight (both performed by Glyndebourne Festival Opera). Is it too much to hope that Suor Angelica – which has never been performed at a Prom – might complete the triptych before too long? Perhaps, knowing the Proms' preoccupation with anniversaries, we will have to wait another ten years until its centenary.
Ruth Elleson © 2008