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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.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
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.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
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.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
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]