Recently in Performances
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
07 Sep 2008
Prom 68 — Russian Fairy Tales from Rimsky-Korsakov and Stravinsky
Kashchey is a gnarled old ogre who imprisons a beautiful young princess in his gloomy underworld. It’s classic psychodrama. Kashchey has supernatural powers, so how can the Princess be saved ?
This Prom paired Rimsky-Korsakov’s Kashchey The Immortal with Stravinsky’s The Firebird, contrasting two resolutions to the fairy tale that’s captured Russian imaginations for centuries.
Rimsky-Korsakov’s short opera focuses on relationships. Kashchey is
immortal, but he has a daughter, Kashcheyevna, who holds the secret to his
death. She’s just as cold and conniving as he is but she falls in love
with the Prince. The Storm Knight brings all four of them together, and the
Princess’s love triumphs. Kashcheyevna weeps, and her tears break the
spell that makes Kashchey invincible. Love conquers all, yet again.
It’s simple but affords opportunities for lushly Romantic musical
effects. Music as pictorial as this illustrates so well that meaning can be
visualised even if you don’t speak Russian. Kashchey’s music is
shrilly angular, evoking his harsh personality as well as the traditional way
he’s portrayed, as a skeleton, the symbol of death who cannot actually
die. The Storm Knight is defined by wild ostinatos, even though he’s
more of a plot device than a character. Some of the most interesting music,
though, surrounds Kashcheyevna. When she sings, there are echoes of Kundry,
or even Brünnhilde. Harps and woodwinds seem to caress her voice, so when her
iciness melts, we sympathise. While the other roles verge on stereotype,
Kashcheyevna is more complex, and Manistina impressed.
Stravinsky’s The Firebird, written a mere four years after Kashchey
The Immortal, inhabits an altogether different plane. While
Rimsky-Korsakov’s music embellishes the vocal line, Stravinsky’s
floats free. It “is” the drama. The ballet evolves from the music
rather than the other way round. Music for dance has to respect certain
restraints, so it’s necessarily quite episodic, but Stravinsky
integrates the 21 segments so seamlessly that the piece has lived on,
immortal, as an orchestral masterpiece. Vladimir Jurowski is still only in
his mid 30’s but has established a reputation for intelligence and
sensitivity. Watching him conduct this piece was instructive : he moves with
the grace off someone who understands how this music connects to dance. His
gestures were understated, yet elegant, his left hand fluttering to restrain
the sweep of the strings and keep the tone transparent. This pinpointed how
Stravinky wrote cues for physical movement into the music itself. Circular
woodwind figures translate into shapes of curved arms, flurries of pizzicato
into rapid en pointe. Dancers must hear levels in this music closed to the
rest of us, but Jurowski’s intuitive approach helps us appreciate its
The Firebird is a magical figure which materialises out of the air,
leading te Prince to Kashchey’s secret garden. Unlike the ogre, the
Prince is kind and sets the bird free. He’s rewarded with a magic
feather. This time the Princess and other captives are liberated by
altruistic love. It’s purer and more esoteric, and Stravinsky’s
music is altogether more abstract, imaginative and inventive. Jurowski gets
great refinement from the London Philharmonic Orchestra, with whom he’s
forged a very close relationship in only a year of being their Chief
Conductor. The solo part for horn, for example, plays a role in the music
like that of a solo dancer. Textures around it need to be clean as they were
here, so its beauty is revealed with poignant dignity. The rest of the
orchestra plays barely above the point of audibility, until the flute enters
carrying the horn’s melody. Later there’s more magic, when the
double basses and cellos are plucked quietly, building up towards the
crescendos which sound for all the world like the joyous tolling of great
bells. In the finale, trombones and trumpets hail the moment of liberation.
The trumpeters stand upright, so their music soars above the orchestra,
projected into the auditorium with superb, dramatic effect.
Kashchey the Immortal by Viktor Vasnetsov