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With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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