Recently in Performances
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
03 Oct 2008
Die tote Stadt at San Francisco Opera
Korngold’s third opera Die tote Stadt premiered in 1920 in Cologne, the composer a mere 23 years old. Back then, opera remained a living art form, with the likes of Strauss and Puccini keeping the public excited about new works.
Korngold’s third opera Die tote Stadt premiered in 1920 in
Cologne, the composer a mere 23 years old. Back then, opera remained a living
art form, with the likes of Strauss and Puccini keeping the public excited
about new works. The Met, not wanting to miss out on any of the excitement,
immediately grabbed this odd piece for its American premiere only a year
later. Korngold’s next opera Das Wunder der Heliane premiered
in Hamburg in 1927 but its generic musicality and moralistic satire failed to
ignite enthusiasm on either side of the Atlantic. Never mind though, it was
time to write movie music.
After its initial Met performances, Die tote Stadt had to wait
more than fifty years to again seduce American audiences with the heavy
nostalgia that permeates Korngold’s score. This time it was a brave
excursion into rare but revered repertory by America’s only adventurous
company of the time, the New York City Opera, where the 1975 Frank Corsaro
staging remained in its repertory until 2006. San Franciscans had to wait
even longer for Korngold’s enigmatic work.
Die tote Stadt is a masterpiece, at least in the hands of a stage
director able to superimpose the real and the imaginary, of an indulgent
conductor able to sustain its unending waltzes and revivals of a single tune,
of a tenor able to sing loud and long and high, and of a soprano able to do
the same as well as impersonate a cabaret dancer. All this the San Francisco
Opera brought over to us from the Salzburg Festival where it originated in
2004, with a brief stop in Vienna to pick up soprano Emily Magee.
Die tote Stadt is a tour de force for everyone involved.
The formidable role of Paul, the bereaved husband of the dead Marie, belongs
these days to Torsten Kerl, who continues on to London with this superb Willy
Decker production. Frank, Paul’s friend and finally rival for the
attentions of the dancer Marietta, is the third of the opera’s
formidable roles, particularly as it is tied to the Pierrot song and antics
of Fritz who taunts Paul in Marietta’s cruel commedia
dell’arte improvisation on death and resurrection. The staging of
this complicated scene (as well with the entire opera) was entrusted to and
effectively realized by Meisje Hummel, an assistant for the Salzburg
Emily Magee (Marietta)
There is no doubt that the piece casts its spell from the first note. The
San Francisco audience gave its immediate and full attention to
Korngold’s rich sound, conductor Donald Runnicles lovingly pulling
forth its thick and weighty sonorities from San Francisco Opera orchestra.
The big tune from the opera, “Marietta’s Lied” comes fairly
early but it is really a duet for Paul and Marietta (though it is far better
known as a stand alone concert aria for soprano), and this tune comes back
many, many times, finally as Paul’s wrenching farewell to his dead
The message of Die tote Stadt is simple – there is no
resurrection. It is a plain statement, unadorned with philosophic and
religious implications, forcefully presented with the full resources of the
post Romantic orchestra with expanded percussion. The Willy Decker production
assumes equal proportion in a conception that sometimes juxtaposes and other
times superimposes Paul’s present upon Paul’s past, resulting in
a confusion of life with dream that brings a whirling corporealness to what
is cold and dead. These are the brilliant designs of Wolfgang Gussmann whose
black boxes and shadowy abysses inhabited by Decker’s real people and
by their shadows. The production means are both enormous and delicately
Paul and troupe
Donald Runncles resonated mightily with Korngold’s over-the-top
sonorities. Torsten Kerl is justifiably famous for the role of Paul. Emily
Magee brought impeccable musical taste and character dimensionality as the
nemesis of the dead wife. San Francisco Opera’s particular
contributions to its performances of the Decker production were adequate. The
Frank of Lucas Meachem fulfilled the formidable needs of this role, though it
lacked the weight as antagonist to counter balance the musical and dramatic
personalities of the production’s protagonists. The Brigitta of
Katharine Tier was similarly out of balance. The well-performed
commedia scene added enormously to the many pleasures of this