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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.
Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim
) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.
07 Dec 2008
Glyndebourne on Tour — Theatre Royal, Plymouth
Glyndebourne Touring Opera has long been bringing its wares to the further reaches of the southern United Kingdom and its current package of Hansel und Gretel, Carmen and The Magic Flute has been drawing good crowds from Norwich in the east to Plymouth in the south-west.
GTO is all about looking to the future: many of the young singers in the
principal roles are getting their first chance to sing with a company of this
standard, knowing that from here they may, if good enough, progress to not
only the Glyndebourne Festival itself but also other major houses. Also, the
operas are supported by the excellent GT Chorus, and a quick look back
through their rosters over the years will reveal both in the Chorus and the
supporting singers some well known names — the likes of Felicity Lott,
Jill Gomez and Ryland Davies, to name just three who have gone on to
The other great thing about the Glyndebourne “brand” is their
reputation for musical quality and long hours of essential rehearsal time,
both assets that many similarly-sized outfits struggle to achieve in these
straightened times. Young singers need nurturing, and given time to develop
their technical and dramatic skills; I this regard I can think of few better
companies than GTO. What a touring company can also do is teach them the
other vital skill of the successful singer: working to the highest standard
in testing circumstances. Long miles on the road, strange theatres, sometimes
inadequate facilities, unknown audiences and, for many, the need to learn two
or more parts from scratch — and then there is the singing itself.
All these skills were on display recently at the Theatre Royal, Plymouth
where this writer caught both Flute and Carmen playing to
full enthusiastic houses at the end of GTO’s Autumn Tour. Each was
expertly directed, idiomatically conducted and played, and offered a high
standard of vocalism. If Mozart’s renowned pot pourri of fairy-tale,
panto, myth and Masonic ritual relied almost entirely on elegant 18th century
costumes and a clever lighting rig for its effects, GTO brought the versatile
set of guardroom/factory with them for Bizet’s Carmen, plus
the full chorus in traditional Spanish costume. Each worked well, and if the
Plymouth stage seemed a trifle cramped for the latter opera, it was perfect
for Magic Flute. As with many of England’s modern
“one-size-fits-all” theatres, the needs of versatility can
sometimes work against the opera ideal — the Theatre Royal is a good
medium-sized hall, comfortable and modern in its facilities both front and
back stage, but acoustically offers some challenges to unamplified voices.
This showed up most in the recitatives — in both operas — where
more projection was needed than was sometimes supplied. Interestingly, this
was not a problem once the singers actually sang with orchestra in their
With so many excellent young artists on show over the two nights, one
hesitates to mention particular names, as there were absolutely no
“duds” in either pack, but this writer was not alone in noticing
the fine, resonant, easy tone of the South Korean baritone Yonghoon Lee as
Don José in the Bizet. From a hesitant first scene his voice blossomed into
something quite special as he mixed bravura passages with finely-wrought
pianissimos — a name to watch.
Theatre Royal, Plymouth. [Photo courtesy of thisisplymouth.co.uk]
Douglas Boyd (Flute) and Jakub Hrusa (Carmen) directed
the excellent GT Orchestra who never seemed to put a foot wrong in either
ensemble or obbligatos; fine playing on each night.
Sue Loder © 2008