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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.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
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).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
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.
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.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
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
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
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.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
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
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
13 Nov 2008
A powerful, poignant Elektra at the Royal Opera House, London
“This won’t be a total Schlacht of sound” said the director, Charles Edwards, of this production. Instead, it’s a strikingly intelligent interpretation, focusing on the deeper aspects of the drama.
Despite his extensive experience, this is Mark Elder’s first
Elektra. He was adamant that the characterization should reflect the
music. Elektra’s part is surprisingly tender at times. Twisted by fate,
she’s become wild, but beneath the madness still lurks the real woman
Elektra might have been. This makes her tragedy all the more poignant. The
real drama here doesn’t lie in decibels. Orchestrally, this was superb.
Elder understands the inner dynamic of the music, grasping the fine detail
sometimes lost in the vast sweep. Harsh, dry percussion punctuates the
beating of the maids. They, too, are victims of the brutal regime. The fifth
maid, who protests, is destroyed, as Elektra will be. The playing was so well
judged that this would have made a superb recording, even without the
Yet what visuals ! A monstrous Bauhaus monolith is set at an awkward angle
against a Greek temple. These architectural fault lines remind us that
Elektra is powerful political commentary. Klytemnestra murdered Agamemnon to
seize his kingdom, but she can’t enjoy power, her nightmares pursue
her. Elektra is duty bound to avenge her father, but she’s irrevocably
warped by it, and cannot live past retribution. As for Orestes, who will now
be king ? Neither Strauss nor von Hofmannsthal make this explicit in the
opera, but they knew, and their audiences knew, Orestes continues to be
punished by the Gods. This production was conceived at the start of the Iraq
war although it references that turning point in European history, just
before the collapse of the Austrian, German and Russian empires. If anything,
recent events like the failure of the banking system, reinforce the point
that power is an illusion, easily destroyed. Nothing’s stable : Aegisth
whirls round, dying, in a revolving door.
In this palace, family values are dysfunctional. There are disturbing
sexual undercurrents in all relationships. Perceptively, however this
production doesn’t play up the kinkiness, but places it firmly in the
context of the power crazed society around the palace. Everyone is trapped in
this brutal situation. Hence the production accentuates the importance of the
maids and subsidiary characters, expanding them as silent roles.
Susan Bullock as Elektra is outstanding. Because this interpretation makes
her sympathetic, Bullock can develop the more subtle aspects of
Elektra’s personality. She’s no screaming mad harpie. There are
many traces of the woman she might have become. She mocks the maids for
having children, yet understands why Chrysothemis wants babies. The dynamic
between Elektra and Chrysothemis (beautifully realized by Anne Schwanewilms),
is lucidly defined. “Ich kann nicht sitzen und ins Dunkel starren wie
du “, cries Chrysothemis. It helps explain why, at her moment of
triumph, Elektra deflates. She has nothing to sustain her but vengeance and
must die when she achieves it. Her final dance is slow, barely perceptible,
as if she’s sinking into the very ground, carrying the “burden of
happiness” which no longer has meaning.
A scene from Elektra [Photo by Clive Barda]
Orestes is the finest part I’ve seen Johan Reuter play so far, and
it suits him well. So much more can be made of Klytemnestra and Aegisth than
Jane Henschel and Frank van Aken presented, but in theatrical terms this was
no real loss, as it didn’t pull focus away from the sisters and
Orestes, and the wider drama around them. Rarely does lighting merit a
mention, but this time it was exceptionally effective. Agamemnon features
prominently as a silent role, his “ghost” projected onto the
walls of his palace. When Elektra sings to Orestes of “Der milchige des
Monds”, a faint, but persistent light shines on the corrugated panoply
above her. It’s a tiny detail, easily missed, but that moment of beauty
throws the tragedy into high relief. This Elektra becomes more
profoundly moving, the more it unfolds.