Recently in Performances
Vividly gripping drama is perhaps not phrase which you might expect to be used to refer to Bellini's I Puritani, but that was the phrase which came into my mind after seen Annilese
As part of their Madness season, presenting three very contrasting music theatre treatments of madness (Handel's Orlando, Bellini's I Puritani and Sondheim's Sweeney Todd) Welsh National Opera (WNO) presented Handel's Orlando at the Wales Millennium Centre on Saturday 3 October 2015.
Benjamin Britten met Mstislav Rostropovich in 1960, in London, where the cellist was performing Shostakovich’s First Cello Concerto. They were introduced by Shostakovich who had invited Britten to share his box at the Royal Festival Hall, for this concert given by the Leningrad Symphony Orchestra. Britten’s biographer, Humphrey Carpenter reports that a few days before Britten had listened to Rostropovich on the radio and remarked that he ‘“thought this the most extraordinary ‘cello playing I’d ever heard”’.
Sir John Falstaff appears in three plays by William Shakespeare: the two Henry IV plays and The Merry Wives of Windsor.
The opening performance of the 2015-2016 season at Lyric Opera of Chicago was the premiere of a new production of Mozart’s Le nozze di Figaro under the direction of Barbara Gaines and featuring the American debut of conductor Henrik Nánási.
Opera Philadelphia mixes boutique performances of avant-garde opera in a small house with more traditional productions of warhorse operas performed in the Academy of Music, America’s oldest working opera house.
Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.
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The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals
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On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
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The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
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21 Oct 2008
Partenope — English National Opera, London Coliseum
In this new staging of Handel's comic rarity for English National Opera, director Christopher Alden has chosen to tell the classical tale of amorous and political intrigue through the world of the artistic elite of the 1920s/30s.
The costumes and settings are directly inspired by specific
examples of art photography from the period, with the programme illustrating
a number of iconic photographic works which are clearly recognisable in the
John Mark Ainsley as Emilio
The opera is set in a devastatingly chic salon (realised by Andrew
Lieberman, with costumes by Jon Morrell), all cream walls and curved lines,
the home of Rosemary Joshua's glacially glamorous socialite Partenope (done
up, as illustrated by a Man Ray photograph in the programme, as Nancy
Cunard). It is a place where the idle and moneyed artistic intelligentsia
gather for a spot of highbrow theorising over a cocktail or two, and where
the great realities of love and war are relegated to the rank of
insignificant little playthings. It is not an obvious breeding-ground for
Neither, to be fair, is the libretto, cribbed by an anonymous writer for
Handel from an original book by Silvio Stampiglia, and here delivered in a
coarsely colloquial translation by Amanda Holden. Though the opera is named
for Partenope, she is a character to whom one does not easily warm; though
her enemy/rejected lover Emilio (John Mark Ainsley) is clearly supposed to be
the primo uomo, he is drawn so sketchily, and takes such small part in the
opera's core emotional intrigue, that he fades into the background. Alden's
production seizes upon this, resolving the issue of what to do with him by
giving him more of an observer role. In the context of the production's arty
milieu, Emilio is characterised as Man Ray, with the often bizarre situations
between the characters being set up and captured by him on film. At the start
of the opera, the production exacerbates the problems caused by this detached
characterisation; at the first interval I was dreading the prospect of a
further two hours of empty posturing and artistic pretension, with any
inconsistencies in the dramatic development being explained away with the
blanket excuse that it's all in the cause of surrealism.
Fortunately, there are also characters we really care about, and it is
they who sustain the story long enough for the development of dramatic
interest and a bit more emotional realism in the second and third acts. First
there's Arsace (Christine Rice), the spoilt cad who has won Partenope's
heart, having conveniently forgotten to mention the lover whom he abandoned
and still hankers after. Then there's Rosmira (Patricia Bardon), the
abandoned lover in question, who (despite having been instantly recognised by
Arsace) has disguised herself as a warrior by the name of Eurimene and
followed him to a foreign land in search of both reconciliation and
retribution. She is, by some margin, the most complex and sympathetic of the
protagonists, and her central obsession with the feckless and unworthy Arsace
is the source of some of the opera's most rewarding music. Finally there's
Armindo, the diffident bumbling youth who is Partenope's best prospect for
genuine happiness but who doesn't have the guts to say so.
As John Mark Ainsley's role contained some thanklessly unmemorable music,
and Rosemary Joshua's coloratura and intonation were wayward at times, the
three subsidiary characters also supplied the best value in terms of musical
satisfaction. Rice's all-guns-blazing revenge aria at the close of Act 2 was
delivered with pinpoint accuracy and a gutsy warmth of tone, and her puppyish
arrogance was thoroughly convincing. What the score lacks in grand Handelian
tragic arias, it attempts to compensate with some shorter episodes of
heartfelt and honest music for Rosmira and occasionally as well as for
Arsace; their third-act duet is one of the musical high points. Bardon
suffered a glitch of some sort at the start of her Act 1 aria, but otherwise
gave a well-rounded and musically sensitive performance. And it was fitting
that Iestyn Davies gave the best and most memorable (if not the flashiest)
vocal performance of the evening; it is his clarity, assurance and
straightforwardness which at last succeed in winning Partenope.
It was a decent ensemble cast, in a score which contains more
multiple-voice numbers than are normally found in Handel, and all was held
tautly together in the pit by ENO débutant Christian Curnyn, more usually
found at the artistic helm of the Early Opera Company.
As hit-and-miss as the production concept is, it underlines the
inexplicable and bizarre ways in which seemingly poised and sophisticated
people are driven to act in the pursuit of love.
Ruth Elleson © 2008