Recently in Performances
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
08 Oct 2008
Cavalleria rusticana/Pagliacci — English National Opera, London Coliseum
For the opening of the 2008/09 season at ENO, Richard Jones has teamed up with two separate theatrical writers, Sean O'Brien and Lee Hall, to create unique new versions of the repertoire's most famous double bill.
Cavalleria rusticana, or 'Sicilian Revenge' in Sean O'Brien's
translation, was psychologically insightful and dramatically compelling. The
whole piece took place sometime in the 1940s inside a tiny village hall, with
murky walls and an oppressive low ceiling, an uncomfortably intimate
microcosm of a community in which everybody knows each other's business. All
human life was here, from the illicit out-of-hours assignation between
Turiddu (Peter Auty) and Lola (Fiona Murphy) to the village women preparing
an Easter dinner. The importance of this central space was underlined by the
centre-stage presentation of the Siciliana at the start and Turiddu's
graphically brutal murder at the end, both of which Mascagni envisaged
occuring in the distance. Only Jane Dutton's rejected Santuzza, fidgety and
obsessive, remained on the periphery, coming into the central space for her
pivotal scene with Roland Wood's threateningly masculine Alfio.
Ed Gardner's punchy conducting complemented Auty's red-blooded ardent
tenor especially well, and brought out the opera's almost constant sense of
raw heightened emotion which the piety of the Easter Hymn and the calm
respite of the Intermezzo serve only to accentuate.
The addition of a mentally-disabled brother for Turiddu could so easily
have come across as a cheap theatrical cliché, but his one line announcing
Turiddu's murder, normally reserved for an offstage woman's voice, had
The English translation was somewhat hit-and-miss, but the only real
problem — and it was a big one — was the incongruity of the drab
indoor setting with Mascagni's lush Mediterranean score. Jones's production
was a riveting piece of theatre in its own right, but the music seemed almost
incidental to it.
After the interval, a surreal repeat of the 'Cav' curtain call heralded
the descent of a new, bright orange curtain. We were thrown into the environs
of a British provincial theatre sometime in the 1970s, about to welcome the
stars of a TV sitcom for a week-long run of a cheesy bedroom farce.
This ingenious production was The Comedians, a genuine and
coherent contemporary take on Leoncavallo's opera, a behind-the-scenes
portrait of a clutch of outdated entertainers whose popularity is based on a
façade of cheap laughs and in-jokes. With the exception of the bird aria,
which didn't make a lot of sense out of its natural context, the whole affair
worked extremely well and was in a completely different class from your
average half-hearted opera 'modernisation' which tends to be riddled with
inconsistencies. Lee Hall's English-language version was again more a
reinvention than a translation, designed specifically in conjunction with
this staging, renaming the characters to suit the context. These were
recognisable characters, in equally recognisable sordid liaisons and public
breakdowns against the backdrop of an impeccably-realised backstage
environment by the set designer Ultz.
Peter Auty as Turiddu
Although the characterisation was uniformly excellent, the singing, it has
to be said, was variable; Geraint Dodd's Kenny (Canio) had a softer-grained,
less focused tenor than is ideal in this role, while Christopher Purves's
Tony (Tonio) was put under some vocal strain in the Prologue. Mary Plazas's
Nelly (Nedda) and Mark Stone's Woody (Silvio) were far more vocally
consistent, with strong support from Christopher Turner as Brian (Beppe).
Trevor Goldstein as policeman, Mary Plazas as Nelly
In a stroke of genius the final scene was given on a split stage, as if
the on-stage theatre had been spliced at the proscenium arch and opened out
like a book. Thus we got to focus on the audience's reactions as much as the
on-stage action. The sense of unease and horror was expertly ratcheted up,
and when Kenny had killed Woody and Nelly and turned his gun towards the
audience, the onstage audience's collective dive for cover kept much of the
real audience laughing right up to the last moment, until Kenny delivered his
devastating closing line and turned the gun on himself. Suddenly, nobody was
laughing any more. Absolutely brilliant.
Ruth Elleson © 2008
Mary Plazas as Nelly, Christopher Purves as Tony