Recently in Performances
If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.
Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
16 Sep 2008
Prom 51 — St. John Passion
Sunday 24th August at the Proms promised a day dedicated to the music of Bach, beginning with an organ recital in the afternoon by Simon Preston and ending with a late-night performance of the first three of the six Cello Suites by Chinese cellist Jian Wang by way of a palate-cleanser.
The centrepiece of the homage was a performance of the St John Passion,
the shorter, tauter and more uplifting of Bach’s two extant Passion
Sir John Eliot Gardiner was at the helm of this one, delivering a
performance that was both exactingly schooled and dramatically compelling.
Admittedly his firm-set ideas on historically-informed performance are a
trifle predictable, and can be irritating after a while: the over-stressing
of the first beat in every bar of the opening chorus was somewhat bothersome,
as was the exaggerated running-through of the ends of phrases of the chorales
wherever the text contains no comma.
The soloists were led by the experienced Evangelist of Mark Padmore, who
always manages to convey a stark emotional connection with the music while
still retaining a refined delivery. Other than Padmore, the singers were
variable; Peter Harvey’s Christus was more than adequate, but the most
interesting and dramatically compelling was the bass-baritone Matthew Brook
as Pontius Pilate, whose role in John’s gospel is so much more prominent than
in Matthew’s more detailed account.
Soprano Katharine Fuge sang with limpid tone, but her phrasing was
short-breathed, and her voice is such a small sound that I wonder if she was
audible at all in the further reaches of the Hall. I take issue with whoever
came up with the idea for the ‘sobbing’ ornamentation in the B section of
‘Zerfließe, mein Herze’; it was the one really tasteless moment of the
concert. Alto Robin Blaze was very uneven in his first aria, which is perhaps
a little high-lying for him, but much more satisfying in his second, ‘Es ist
vollbracht’ which comes at the moment of Christ’s death. Nicholas Mulroy and
Jeremy Budd shared the tenor arias, Mulroy acquitting himself with more
The Monteverdi Choir, in which the soloists also participated, performed
with vocal colouring and facial expression appropriate to each of the
dramatic choruses. The choir were radiantly uplifting in the closing chorus
and chorale, affirming Man’s confidence in the presence of a hitherto
non-existent gateway to Paradise.
Ruth Elleson © 2008