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Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
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.