Recently in Performances
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
04 Sep 2008
Although performances of Handel’s more obscure large-scale works are relatively common in London, it is far less common that they are given in a venue as large and high-profile as the Royal Albert Hall, with a line-up of conductor and soloists that will attract a full house for a lengthy and static work on a hot summer evening.
And yet it happened, and Handel’s 1744
oratorio Belshazzar with libretto by Charles Jennens was brought to
vivid and entertaining life by the veteran Handelian maestro, Sir Charles
The real highlight was the singing of the Choir of the Enlightenment,
which could hardly have been better. Unlike many of London’s high-profile
professional choirs, they are selected on a concert-by-concert basis,
allowing casting decisions to be made with regard to which singers will be
right for the work in hand. The bright forwardness of the sound in their
opening chorus, ‘Behold, by Persia’s hero made’, was refreshing indeed,
setting the tone for the rest of the evening, and they performed with
impeccable ensemble throughout, with clear dramatic definition between their
various guises as the Babylonians, Persians or Jews. The chorus bass William
Gaunt delivered a particularly fine solo recitative in the tiny role of
Arioch. Only in the feast scene did the sound from the chorus sound too clean
and English, rather short on Babylonian debauchery.
Paul Groves sang the title role with a pleasant enough tone, but it was
rather monochromatic, and being primarily a Mozartian, he did not seem nearly
as comfortable or well-versed in the Handel idiom as his fellow soloists. He
was also the only one of the five soloists not to make any attempt at facial
and physical acting to complement his vocal performance; Belshazzar is, after
all, supposed to be a king, and a strong-willed one at that.
At the emotional heart of the oratorio is the struggle of Nitocris,
Belshazzar’s mother, to oppose the son she loves and allow him to be
conquered and killed by the invading Persians. Here we had the luxury of the
lovely, unaffected sound, intelligent characterisation and expressive vocal
colour of soprano Rosemary Joshua.
The countertenor Bejun Mehta was very strong but a touch strident as
Cyrus, the leader of the Persian army, while fellow countertenor Iestyn
Davies exuded calm and noble piety as Daniel, making a beautiful sound in the
process. Although Gobrias is only a small role, it was given maximum value by
the young bass Robert Gleadow, a graduate of the Royal Opera’s young artists’
programme, who delivered the almost pictorial falling scales of ‘Behold the
monstrous human beast/Wallowing in excessive feast’ with dramatic relish.
King Belshazzar of Babylon by
Rembrandt Harmenszoon van Rijn
Mackerras conducted the Orchestra of the Age of Enlightenment in an
account of the score which was robust, energetic and taut. There were several
cuts — some, evidenced by gaps in the numbering in the concert programme,
scheduled well in advance; others seemingly trimmed later in the day as there
were several numbers and parts of numbers printed in the programme but absent
from the performed version. In any case, it wasn’t only Mackerras’s brisk
tempi which made the concert fly by in a full half hour less than the
scheduled running time.
Ruth Elleson © 2008