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On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
Beat Furrer's FAMA came to London at last, with the London Sinfonietta. The piece was hailed as "a miracle" at its premiere at Donaueschingen in 2005 by Die Zeit: State of the Art New Music, recognized by mainstream media, which proves that there is a market for contemporary music lies with lively audiences
Franz Schreker Die Gezeichneten from the Opéra de Lyon last year, now on arte.tv and Opera Platform. The translation, "The stigmatized", doesn't convey the impact of the original title, which is closer to"The Cursed".
24 Oct 2008
Falstaff at Pimlico Opera, Cadogan Hall
Pimlico Opera is based at the Grange in Hampshire, home of the Grange Park opera festival, but pre-dates its sister company by a decade and has been giving national tours of popular operas since the 1980s as well as doing some pioneering opera and music theatre projects in UK prisons.
There are many concessions which have to be made when touring on a budget, and nothing about this Falstaff was as big as it normally is. The score, which had several cuts, was performed in an (uncredited) arrangement for an orchestra of fewer than 30, and no chorus (the principals making up the vocal ensemble wherever appropriate). At London’s Cadogan Hall there is nowhere to put a backdrop, and all that survived of the adaptable touring set was a versatile set of blocks which transformed into the various different settings with the addition or subtraction of panels or furniture. The scene changes — given that Cadogan Hall has no curtain — were entertaining to watch, almost little scenes in their own right.
Daniel Slater’s production (revived by Hazel Gould) was performed in modern dress, and Act 1 Scene 2 used one of the favourite generic settings for contemporary productions, the luxury health club complete with sun-loungers. It was colourful but not very original, and the possibilities of the setting were ignored — why couldn’t Act 2 Scene 2 be set there too, with Falstaff being dumped in the swimming pool at the end? But no, for that scene we were in the traditional setting chez Alice, with the Thames running past the back door as per the original stage directions. At least there was one bit of business which utilised the unusual layout, with the orchestra to the right of the stage area; Falstaff hid from Ford by crouching next to the band and attempting to blend into the violin section.
Falstaff himself was also on a smallish scale, with minimal padding, but while the young Swiss baritone David-Alexandre Borloz lacked physical bulk, there was nothing insubstantial about his vocal resources, which were if anything a size too big for the intimate venue. James Cleverton’s Ford was also impressive. Rebecca Cooper’s neat, classy Alice was vocally secure, but dramatically she was upstaged by Emma Carrington’s sardonic Quickly and Margaret Rapacioli’s Meg with her wonderfully expressive eyes.
As Fenton, Patrick Ashcroft’s tenor was rather monochrome and lacked bloom in his lovely Act 3 aria, but he had a natural and charming stage manner, while Verity Parker’s Nannetta was a vocally appealing and believably youthful girl-next-door (though I couldn’t work out why was she made to wear a black cloak over her white fairy costume — she would have looked far more effective without).
David-Alexandre Borloz (Falstaff) and James Cleverton (Ford) in The Garter Inn. Pimlico Opera 2008.
Alice Farnham conducted with vigour, but the limitations of the reduced score were evident throughout — the lack of richness in the opera’s musical texture was a significant loss to the piece. It was just as well that Verdi’s final opera (not, as the programme stated, his only comedy) is virtually indestructible, and that the cast was a more than solid ensemble. The joy of the final fugue could not have come across more effectively on the stage of a major international house.
Regrettably, the audience, too, was pared down — the small hall was far less than half full.
Ruth Elleson © 2008
(L-R) Verity Parker (Nanetta), James Cleverton (Ford), Rebecca Cooper (Alice), Patrick Ashcroft (Fenton) and Margaret Rapacioli (Meg) Act 3, Scene 1. Pimlico Opera 2008
Click here for an excerpt via YouTube.
[Editor’s Note: It is with deep regret to note that David-Alexandre Borloz (age 32) died in his sleep on 19 October 2008]