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It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain. And, if the second half of the programme - 20th-century American classics with the odd folky diversion - did feel a little like a prolonged encore (which was followed by three further suavely delivered numbers complete with mischievous banter and musical high-jinks), this did not lessen the musical and theatrical accomplishment or the evident delight of the Wigmore Hall audience, although I confess to feeling a bit of a sugar-rush
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
27 Feb 2009
A restrained Flying Dutchman at the Royal Opera House, London
This Der fliegende Holländer was eagerly awaited as it hasn’t been heard at the Royal Opera House, London, since 2000. With Bryn Terfel’s return to Covent Garden as the Dutchman guaranteed a full house.
Terfel’s admirers would not have been disappointed. His voice boomed
with authority, impressive for its strength, even when he had to sing
dragging a heavy rope across the stage and wade through the real water at the
front of the platform. Terfel’s vocal power always impresses, and he has
done interesting Dutchmen elsewhere. However, in this production, by
Tim Albery, he was not called upon to develop the character. Not long ago,
Albery presented Boris Gudonov as stolid, mild-mannered bourgeois.
This Dutchman was no more ravaged than Daland. When the women and
Daland’s sailors call out to the doomed souls on the haunted ship, they
face the audience and shine lights into the auditorium. When the Dutchman’s
crew do appear, they’re neatly dressed in uniform, as if they’d never
been to sea. Maybe there’s some deep meaning in this, but it could have
been thought through with more focus.
Anja Kampe as Senta
The performance was more interesting, though, for what it brought out in
the music. That glorious overture is a marvel of dramatic scene-painting,
setting the mood for the entire opera. How it’s staged reflects on the
whole production. Here it unfolded against a backdrop of green light and
projected images of rain, with shadowy figures flitting from left to right.
This was interesting, but hardly enough to sustain interest for that period
of time. Nor did it vary, although the score itself is characterized by
distinct developmental phases. This was disappointing because Marc
Albrecht’s conducting shaped these changing themes very clearly, for they
define the duality that is fundamental to the whole opera.
Albrecht’s approach revealed the underlying structure. Wagner wields
leitmotivs like weapons. By juxtaposing the sailor’s cheery love songs with
the savagery of the music associated with the storm and the Dutchman, he
draws contrasts, between stability and chaos. Particularly brilliant are the
crosscurrents in Act Three, throwing the music of the village against the
music of the haunted sailors. This act depicts a “storm on land”, just as
the first depicts a storm at sea. Keeping the different ensembles distinct is
important here, and takes some sophistication. But the Royal Opera House
Chorus excels in intricate ensemble. At last the production sprang to life,
animated by the sheer vitality of the singing.
A scene from Der fliegende Holländer with Anja Kampe (Senta) in the foreground
Indeed, the role of the chorus in this opera is sometimes underplayed
since attention usually centres on the Dutchman and on Senta. The influence
of Weber still hung heavily on Wagner. Some of these choruses are reminiscent
of Der Freischütz, another tale of demonic forces. Thus
Albrecht’s vignette-like focus reflects episodic “aria” opera tradition
rather than the overwhelming sweep of late Wagner in full sail. Der
fliegende Holländer is only the first stage of the saga.
Bryn Terfel may have been the big draw, but perhaps this production will
be remembered as the moment Anja Kampe made her name. Anyone who can steal a
scene from Terfel is worth listening to. From Kampe’s small frame emanated
a voice of great power, enhanced by an understanding of Senta’s role. Even
before she meets the Dutchman, she fantasizes about him. The other women work
in a factory, but Senta is by nature a non-conformist, drawn to the wildness
that the Dutchman symbolises. No wonder she knows right away she wants him,
not Erik. Senta is the prototype of Wagner’s later heroines who equate love
with death, and who find fulfilment in redeeming others. This does reflect in
many ways Wagner’s own predicaments, but the archetype becomes wilder and
more cataclysmic. Kampe probably has the ability to make much more of such
heroines in the future, given the productions that make more of the extreme
intensity - madness, even - in these roles. She’s singing Isolde at
Glyndebourne this summer, which will be something to look forward to.