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Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
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