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

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.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

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):