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On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
14 Dec 2008
Riders to the Sea — English National Opera, London Coliseum
Back in June, in my review of The Pilgrim’s Progress at Sadler’s
Wells, I wrote about the valuable and unsurpassed work being done by Richard Hickox to champion the works of Ralph Vaughan Williams in the composer’s centenary year, a project of which this rare staging of Riders to the Sea for ENO was to be the culmination.
Nobody could have anticipated
that the 60-year-old conductor would suffer a fatal heart attack only four
days before ENO’s opening night.
The show went on in Hickox’s memory, led by ENO’s Music Director Edward
Gardner, who had the difficult task of taking on the project in such sad
circumstances. And Vaughan Williams’s opera, based on a play by J.M. Synge,
is a grim work by anybody’s standards. A peasant woman, Maurya, lives in a
coastal hut in the Aran Islands and has had two daughters and six sons; four
of the sons, along with their father and grandfather, have already had their
lives claimed by the sea. The fifth is missing, believed drowned, and fate
dictates it is only a matter of time before the sixth is similarly lost. In
the space of forty-five minutes, both are confirmed dead.
This was an impressive opera-directorial début by the actress and
theatrical director Fiona Shaw, who created an emotionally-intense dynamic
within what’s left of Maurya’s family. Their house is delineated by lighting
only; there are no walls, so there is never any escape from the elements.
Huge, shadowy upturned boat-hulls descend from above the stage, surreal and
coffin-like. Tom Pye’s wonderfully bleak, craggy set is suggestive of a place
which exists outside of the progress of time; a primaeval wasteland where
nothing ever changes and all human life is in thrall to the will of
In her final monologue, Maurya finds her anticipated devastation
supplanted by a sense of relief and comfort that her life is no longer
burdened by the certain knowledge of the destiny which awaits all of her
menfolk; in one sense it is a small personal victory over nature, albeit in
the context of an acknowledgement of human powerlessness. Mezzo Patricia
Bardon was extraordinary in this scene, imbuing the music’s lyrical lines
with an radiance that contrasts vividly with the terseness of her earlier
Sopranos Kate Valentine and Claire Booth, both making their ENO débuts,
portrayed Maurya’s two daughters with emotional intelligence and excellent
diction. Leigh Melrose — too long absent from the stage of the Coliseum
— was ideal as the angry, burdened Bartley, the last surviving son.
The opera is well under an hour in length, and rather than staging it as a
double bill with another short work, it was done with a curtain-raiser
— Luonnotar, Sibelius’s 15-minute monologue for solo soprano, in a
simple staging against the backdrop of Dorothy Cross’s unnervingly beautiful
video projections. Singing in the original Finnish, and suspended in the
centre of the stage in an eerie monolith which transpired to be one of the
fateful boat-hulls, Susan Gritton was wonderful as the eponymous air-spirit
who becomes trapped in the sea and inadvertently gives birth to the moon and
stars. It was an inspired choice of opener, introducing the relationship
between the sea and the eternal themes of birth, life, death and maternal
grief which Riders goes on to explore further.
(left to right) Patricia Bardon as Maurya, Leigh Melrose as Bartley and Kate Valentine as Cathleen
The production integrates the two works fully, joining them into a single
piece with a specially-commissioned interlude by John Woolrich, an
organic-sounding progression of abstract chords. Not only does the pregnant
Luonnotar open the performance — she closes it too, re-emerging onto
the stage outside Maurya’s empty home, seemingly ready to give birth once
more and perpetuate the cycle of motherhood.
Susan Gritton as Luonnotar
The orchestral playing was powerful, lyrical and atmospheric in what is
mostly very subtle and understated music; the standard was a fitting tribute
to the late Hickox. It was a superb performance by a fine cast in an
excellent production — but it was never going to be a cheerful
Ruth Elleson © 2008