Recently in Performances
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
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