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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.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
09 Nov 2008
Ernani and I Capuletti e I Montecchi on Dynamic DVD
Both these performances come from mid-2005. Teatro Regio di Parma presented the Ernani in May of that year; August saw I Capuletti e I Montecchi on stage at the Festival della Valle d'Itria di Martina Franca.
Sound and picture are excellent for both, and the performances, while not first-class, feature solid singing and tasteful productions. Despite those merits, neither DVD makes for a truly satisfying experience. Verdi’s early hit should be more exciting; Bellini’s take on the tragedy of Romeo and Juliet could use more style. The catalog doesn’t exactly run over with these two titles, on the other hand.
As seems to be typical of most of the productions Dynamic chooses to film, the sets tend to the spartan - neither of these have much scenery or even props. The budget, apparently, goes to costumes. For Ernani, Pier’Alli’s gorgeous designs put the ladies in satins of metallic red and gold, while the men wear form-fitting tunics of coordinating leather. Beautiful to look at, they also inhibit easy movement, as well as expressing much more of the creator’s taste and imagination than anything about the drama or the characters.
Not helping matters is a cast of strong voices but little stage personality. In the heroic tenor lead, Marco Berti manages the notes with an able but colorless instrument. If he sang with greater individuality, perhaps your reviewer wouldn’t mind so much his bland appearance and stiff stage deportment. Susan Neves shows a little more life as the love interest, Elvira, but why she inspires such mad lust from every man who sees her remains a riddle. Her singing is unsubtle but when she pours out the volume, she makes some impressive sounds. Carlo Guelfi and Giacomo Prestia, as the dark-voiced “bad guys,” Don Carlo and Silva respectively, growl and bluster appropriately. Pier-Alli really needed to spend a little less time with the needle and thread and more getting some inspired movement on stage. The elemental passions of this early Verdi work are done no favors here. Conductor Antonello Allemandi has the right ideas, however, in the pit with the Parma forces.
For the Bellini, director/designer Denis Knef decided to update the tale of the star-crossed lovers to some vaguely early 20-th century setting. The unchanging backdrop of worn stone edifices suggests a plaza in Verona. The men wear caps and fedoras, with dark suits, and some carry rifles. The aim simply seems to be to put a fresh spin on the timeless tale (albeit one told with some key differences from Shakespeare’s version). In the end, the updating is harmless but meaningless. Bellini’s music never quite reaches the heights of his masterpieces, with only the last scene really touching deeper emotional levels. Nonetheless, the two leads, including a mezzo in the pants-role of Romeo, get many opportunities to shine, and both Patrizia Ciofi (Juliet) and Clara Polito (Romeo) make the most of them. As the tenor bad guy Tebaldo, Danilo Formaggio impresses with a handsome, sizeable mid-range and able top. It’s unfortunate to note that if he were better looking, he might have a lot more opportunity to expand his career. Luciano Acocella and the Orchestra Internazioale d’Italia support the singers admirably.
Perhaps if director/designers had been switched, we could have had a rougher, more scintillating Ernani and a lusher, more entrancing I Capuletti e I Montecchi. What we have instead is decent but not all that exciting.