Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

OPERA TODAY ARCHIVES »

Performances

Leoš Janáček
03 Sep 2008

JANÁČEK: Osud

Janáček’s music has already been well served in this year’s Proms in a memorable evening conducted by Boulez (reviewed on this site by Anne Ozorio).

Leoš Janáček: Osud [Fate]

Štefan Margita (Živný), Amanda Roocroft (Mila Válková), Rosalind Plowright (Mila’s Mother), Aleš Briscein (Dr Suda), Aleš Jenis (Lhotský/Verva), Owen Gilhooly (Konečný), Ailish Tynan (Miss Stuhlá), Martina Bauerová (Miss Pacovská/Součková); George Longworth (Doubek as a boy); BBC Singers, BBC Symphony Orchestra, Jiří Bělohlavek (conductor).
Royal Albert Hall, London, 21 August 2008

 

On the present occasion, it was the phenomenal virtuoso composition that is Osud that was delivered with panache and confidence by Bělohlavek and his forces. Bělohlavek had clearly lavished much attention on the score, for passages that could so easily have become jumbled, such as the complex choral opening of the final act, were models of lucidity.

Sir Charles Mackerras brought Osud to the attention of non-Czech audiences with his 1989 ground-breaking English-language Chandos recording (CHAN3029). The story is a fascinating one, featuring three main protagonists. The composer Živný has a complex relationship, and a child, with Míla. At the opening of Act One, they are estranged, and Živný has begun to compose an opera in which he therapeutically attempts to write out his jealousies and frustrations; by the end of Act One, they have effected a reconciliation. The third major character is Míla’s mother, who descends into insanity in Act Two, an act that ends in a double tragedy. The third act centres on Živný’s attempts to finish his opera (due for imminent performance). Tragedy again strikes.

Janáček’s music includes the polar extremes of unbearably poignancy and the bright-sunshine, carefree life of the opening scene (the latter set on the promenade of a spa resort). The composer’s ability to effect quicksilver emotional changes in a fraction of the blink of an eye needs equivalent quicksilver responses from the orchestra, and Bělohlavek indeed ensured that his was the case. The opera lasts around the 80-minute mark, and yet is still split into three acts (called, ‘novelesque scenes’ — the breaks between these were minimal).

The soprano Amanda Roocroft, who took the essential role of Míla, was simply stunning, both visually and aurally. Her voice tone can be meltingly gorgeous, while always suggesting the youth and emotional impetuosity of her character. The (relatively) long eleventh scene of Act One is a duet between Mila and Živný, and despite Štefan Margita’s clear affinity with his role (he has actually recorded it), it was Roocroft who was the clear star. Still, Margita found a real vein of lyricism in the first scene of Act 2, coupling this with expert pitching and remarkably clean slurs.

Talking of stars, the name of Rosalind Plowright seems like a stellar blast from the past. Plowright has lost none of her hypnotic stage presence. Her voice could be huge, with a wobble that was more impressive than off-putting, a cutting edge that was never unpleasant and a delivery of the key word ‘Fatum’ that was positively spine-tingling.

There were other stars of the evening, too. Verva (baritone Aleš Jenis) gave a memorable imitation of a child’s voice, his inverted commas as he did so never in doubt, while Ailish Tynan as Miss Stuhlá confirmed the positive impressions she left after Gergiev’s Mahler Eighth Symphony at St Paul’s Cathedral recently. Aleš Briscein was a confident Dr Suda.

The chorus (BBC Singers) was impeccably drilled, as were the many soloists culled therefrom (eleven named parts, plus sundry schoolgirls and teachers).

The first part of the concert consisted of the complete set of Op. 46 Slavonic Dances by Dvořák. Infectious music, to be sure, but a sequence of eight dances in a row seemed a tad too much of a good thing, too many bon-bons in one sitting to be good for the digestion.

Colin Clarke

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):