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On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
15 Feb 2009
Kurt Weill’s Der Kuhhandel at Volks Oper Wien
The Kurt Weill-composed operetta Arms and the Cow premiered in 1935 under the title A Kingdom for a Cow, according to Erwin Berger’s booklet essay for this DVD of a 2007 VolksOper Vien staging of David Pountney’s production.
Berger, in a “traduction” by Uwe Lukas Jäger, doesn’t go on to explain the change in title, nor does he comment on the most alluring bit of music in Weill’s score: a strong foretaste of the melodic material that would become the standard “September Song,” which Weill would compose after his move to the USA to start his career as a Broadway composer. Try track 22, “Juans Lied.”
A failure in its initial run, Arms and the Cow may have been a bit too pointed in its satire for an operetta - even relevant, of all things, in that frequently frivolous genre. Set in a very Teutonic-inspired version of Latin America, the story revolves around corrupt leaders and the arms salesman who profit off them, with poor Juan and his intended bride caught up in the machinations when Juan’s cow, his one claim to property and success, is taken by the government as a tax penalty. Read that line as many times as possible and then just shrug it off. Everything ends happily, at any rate.
How much of the operetta seen here resembles the original production can’t be easily judged. A brief note in small font on the back cover of the DVD case credits the libretto to Robert Vambery “in a revised text by Reinhard Palm.” That would explain the references to Botox and the axis of evil. Pountney doesn’t lay on the politics too heavily, thankfully, letting the cartoonish characterizations and frequently incomprehensible plot developments bubble along, comically enough. The most amusing character is the arms salesman Mr. Jones, in a performance by Michael Kraus primarily delivered in German, with the odd English exclamation and expletive. Kraus somehow manages to convey an “Ugly American” attitude even barking and growling in German. Carlo Hartmann spends most of the staging in a suspended divan, portraying the lazy and ethically dubious President Mendez. Most every operetta has at least one role for a comic actor to sink his/her teeth into and tear it into gruesome shreds (think Frosch in Fledermaus). Here Wolfgang Gratschmair provides the dental workout, chewing the scenery as Ximenez, an aide to the president. The young lovers, as is also often the case, are a fairly dull pair, and neither Dietmar Kerschbaum as Juan nor Ursula Pfitzner as his love Juanita have impressive voices, both being uncomfortably edgy in the top range.
Weill’s score has too little of his inimitable voice, but the music is still the best part of the show, from the mock national anthem that serves as the curtain raiser, through the romantic laments and comic patter numbers, to the toe-tapping ensemble finale. Christoph Eberle and the Volksoper forces serve it up with energy and style.
The packaging leaves much to be desired, with the cast listing and other credits only found on the back of the jewel case. Some sloppy editing results in misspellings in the subtitles. In fact, the menu screen offers the option to “select titel” (sic).
At about two hours and twenty minutes, Arms and the Cow is overlong, and while always at least mildly entertaining, only Weill completists or indiscriminate lovers of operetta may want to spend that much time fretting about Juan’s kuh.