Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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