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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.
12 Dec 2008
Der Fliegende Holländer — London Lyric Opera, Barbican Hall
Much has been promised of London Lyric Opera. The newest company on the capital’s opera scene, it will collaborate with the Royal Philharmonic Orchestra to specialise in full-scale concert performances with high-profile soloists.
Plans are afoot for a Fidelio at Cadogan Hall in February
2009, and after that, Die Fledermaus and Der Freischütz.
It is unclear whether there might be an intention in the more distant
future to broaden the company’s scope beyond the German language, but perhaps
there shouldn’t be. Although LLO is selecting well-known operas, it is also
actively seeking out unusual and historically-valid performance editions. The
UK is virtually flooded with companies doing the same for Baroque opera, and
for Italian bel canto rarities, but there hasn’t really been anybody around
to take an equivalent interest in the core German repertoire — until
The company’s founder and mastermind is the Australian baritone James
Hancock, and this inaugural concert was the fulfilment of his long-held
desire to perform the title role. Hancock used to be a tenor, and his voice
remains higher-lying than the role demands; more worryingly, his voice simply
dried out as the evening went on, and by the end of Act 2 there was really no
‘juice’ left. Though it is the fashion these days to preserve the dramatic
flow of the opera by going straight through without intervals (as Wagner had
intended at the outset), the two breaks in this performance were a practical
necessity. Karl Huml seemed somewhat too high for Daland, too, and I couldn't
help wondering whether he would have fared better in the title role.
The performance’s unquestionable highlight was the British soprano,
Gweneth-Ann Jeffers, making her role début as Senta. Lyrical and muscular of
tone, with an assured stage presence and innate sense of drama, she captured
the supreme emotional focus of Wagner’s early heroine in her desperation to
break out of her downtrodden existence. This ‘authentic’ performance edition
has the Ballad in its original A minor, a tone higher than the familiar key,
and it fit Jeffers’s athletic soprano like a glove.
Jeffrey Lloyd-Roberts is neither a natural Wagnerian nor a natural love
interest, but his psychologically intense and highly-charged Erik was a
fitting foil for Jeffers’s Senta. Their pairing was a highly intelligent
piece of casting, and their scenes together were in a different league to the
rest of the opera. If only there had been such chemistry between Senta and
Tenor Richard Roberts’s dopey characterisation of the Steersman was
engaging, though his opening song was something of a struggle; he was quite
plainly suffering from a cold, though no announcement was made.
The soft lyrical passage at the end of Senta’s ballad defeated the ladies
of the Philharmonia Chorus, but their male colleagues were a strong and lusty
Norwegian crew; I’m sure there was nothing wrong with those who supplied the
voices of the ghostly Dutch crew, but there was some nasty distortion on the
amplification system which piped their rousing chorus through from offstage.
Veteran conductor Lionel Friend — who was responsible for the research
into the performing edition — made some strange tempo choices, but the
RPO generally sounded full and energetic, a few cracked brass notes aside.
All in all, the performance would have benefited from better-balanced
casting; Jeffers was just so good that she showed everybody else up. And
better marketing would help ticket sales and thus financial viability; the
Barbican Hall’s stalls were quite full, but there was plenty of space in the
Circle and they didn’t even bother to open the Balcony. If they can sort
these things out, London Lyric Opera could be an enduring success.
Ruth Elleson © 2008