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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.
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