Recently in Performances
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
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.
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.
21 Oct 2008
Idomeneo in San Francisco
Munich in 1781 was hardly the big city, not an enlightened Paris where Gluck had recently turned the opera world on its ear, not a European capital like Vienna where Italian operatic imperialism was unassailable.
was certainly aware of operatic life in the big city, and did its best to
compete, doing so by the commission of an opera called Idomeneo to a
bright young composer, an ascending star, W.A. Mozart.
Alice Coote as Idamante
No one would know then that this little opera with its big aspirations
could become a mainstay of current big house repertory, though truth to tell
it sits there a little uncomfortably. While it has the big chorus scenes
Paris loved, even the sine qua non ballet that opera companies do not even
attempt these days, not to mention the scenic spectacular that universally
wows, it inevitably also has the Mozart genius that goes well beyond these
old opera stories and their splendid vocalism. It is music that heads
straight for the heart and the mind. The Marriage of Figaro is just
beyond the horizon (five years away) as immediately after Idomeneo
Mozart begins exploring the more nuanced world of comedy first with a
singspiel and then two small, unfinished buffa’s.
But meanwhile the serious Idomeneo is built on an already dead operatic
irony. To save his own life Idomeneo must sacrifice another life,
and to save his people he really has to do so, even though Idamante, his son
and his victim, has saved the people from the terrible sea monster that
Neptune unleashed when Idomeneo was reluctant. Opera seria is big
and bold and improbable. Rossini would again make it so only a few years later, but not the Mozart of Idomeneo, a valiant child of the Enlightenment.
This early Mozart indulges the women who love Idamante in delicate and
passionate personal expressions of their love. Mozart places his father in
quiet, deep torment, and even his son (in Mozart’s Munich the castrato
Vicenzo dal Prato) voices real grief in his often above-the-staff,
male-soprano showpiece. And these are only the seeds of discovery for the
exposition of human souls in his greatest masterpieces, the Da Ponte comedies
— these Idomeneo creations soon enough will become his Countess and
Elvira, his Count and his tongue-in-cheek castrato, Cherubino.
Kurt Streit (Idomeneo) and Alek Shrader (Arbace)
San Francisco is no longer the big city operatically speaking, certainly
not the New York of the renewed Met, or even Munich for that matter, and in
the case of the current edition of Idomeneo, San Francisco does not
even try to compete with big operatic thinkers, as it did in the 1977 when
Jean Pierre Ponnelle made the first San Francisco Idomeneo. Instead
San Francisco Opera dusted off its twenty year-old John Copley production,
cast it with relatively unknown stars-in-the-making, and entrusted it to the
broad musicality of its music director, Donald Runnicles.
The Copley production does indeed provide a comfortable background for
this minor Mozart masterpiece. Its settings designed by John Conklin
delicately reference antiquity, its costumes coolly incorporate tunics and
togas for its choruses with rich, courtly seventeenth century dress for its
protagonists. Mr. Copley makes his actors’ movements flow with the music in
naturalistic ways, motions that are continuously choreographed, that echo the
naturalness of the music rather than illustrate or impose the artificiality
of the opera seria genre. Mr. Conklin’s visual images flow in
the same fashion, seemingly in continuous movement as the aria follows aria.
The entirety of the staging was like a beautiful wallpaper that surrounds
voice and music.
Maestro Runnicles brought the entire second act to a timeless, sublime
musicality, the departure trio dangling its hopes and fears, the arias
melting with emotion. The great third act quartet unfolded grandly, then four
graphically magnificent horses rose gracefully from the sea (masking any sort
of terrifying sea monster). And the music never faltered. Well, only once — a
small moment of real drama when the cue for the deus ex machina was
a trifle late and we all had a fleeting moment to laugh at the ridiculousness
of such things. This evening in toto was like a perfect recording,
we knew the music need never end.
Tenor Kurt Streit provided a fine Idomeneo, his well-produced, clear voice
able to encompass the huge range of emotions inherent in this difficult role.
The Idamante of mezzo-soprano Alice Coote amply filled the musical, vocal and
even histrionic needs of this complex role, a perfect Idamante for this
Copley exercise in musical flow. Genia Kühmeier sang beautifully as Ilia,
glorious pianissimos flowing into passionate outpourings. Even the smaller
scale of the spurned Electra of Iano Tamar seemed perfectly at home in the
calm flow of this production. Bass Robert MacNeil was adequate as the High
Priest of Neptune, less so the Arbace of Adler fellow Alek Shrader.