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On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March.
The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
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.