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This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
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