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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.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
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