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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
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Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
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.