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The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
08 Feb 2009
Magic Flute at ENO
‘Back by popular demand’ claimed ENO’s publicity material for the
21-year-old production which had its supposed swan-song last season – though it remains questionable whether the company ever really intended to get rid of it.
Although Nicholas Hytner’s staging takes more of a ‘family
entertainment’ approach than some more psychologically searching productions,
with overt jokes and a pantomime-villain Monostatos, it is one of the
company’s greatest assets; a well-established rite of passage for many of
ENO’s promising young singers, an ideal first night at the opera for a child
or adult beginner, and the sort of show which it seemingly isn’t possible to
Robert Lloyd as Sarastro and Sarah-Jane Davies as Pamina
On this occasion, Sarah-Jane Davies and Robert Murray were well-cast and
well-partnered as Tamino and Pamina. Davies sang in the last revival here,
and she has become a really lovely Mozartian singer, her beautifully
controlled soprano subtly imbued with pathos and emotion. Murray’s elegant
tenor was ideal for the high-born, high-minded youth, and he was eloquent in
his delivery of the English words. It was a shame that both seemed nervous
and tentative in their characterisation.
As the Queen of the Night, Emily Hindrichs’s small, brittle and
cleanly-placed soprano was initially impressive, but in the Act 2 spoken
dialogue her rage had little sense of a noblewoman’s wounded pride, and she
came across merely as petulant and shrill. Her subsequent aria had some
lapses in accuracy. Robert Lloyd – a rare sight on this stage, having
spent so much of his distinguished career at the Royal Opera – brought
gravitas and a fatherly presence to Sarastro, with bottom notes of rich
Jeremy Sams’s gently humorous colloquial dialogue was delivered in a wide
range of regional accents, some more real than others. In the case of the
Three Ladies (guest principal Kate Valentine and chorus-members Susanna
Tudor-Thomas and Deborah Davison) whose glamorous feather-trimmed
midnight-blue costumes demand a certain amount of upper-class bearing, the
use of various accents was a misjudgement; I wondered whether perhaps one of
the three had been unable to disguise a genuine accent, and the other two had
been obliged to affect accents of their own to compensate.
Papageno was played once again as a genial Yorkshireman by the very
likeable Roderick Williams, though through no fault of his own he had trouble
living up to his job description on this occasion. Two of the four real white
doves, whose behaviour when they appear on stage during the Bird-catcher’s
Song is usually impeccable, got uncharacteristically overexcited and decided
it might be fun to evade capture. It took an additional pair of hands and a
good two or three minutes to round them up, amid much audience mirth. The
joys of live theatre!
Emily Hindrichs as The Queen of Night and Robert Murray as Tamino
If the birds were intent on demonstrating the wisdom of the oft-repeated
advice never to work with children or animals, trebles Charlie Manton, Louis
Watkins and Harry Manton were here for the defence. They were quite the
finest trio of boys I can recall hearing, perfectly in tune and impeccably
Conductor Erik Nielsen (Kapellmeister of the Frankfurt Opera), in his
house debut, was rather stately and mannered in a heavily Baroque-inflected
overture, but from then on his reading had a poised and even pacing that
Sarah-Jane Davies as Pamina with the Three Spirits (Charlie Manton, Louis Watkins & Harry Manton)
The company has been strangely quiet on the subject of whether the staging
has now been officially retired, or whether it has been granted a more
permanent reprieve. But now that opera companies have a bigger challenge than
ever in competing for audience spending power, it would surely be a waste to
scrap such a sure-fire hit as this. It keeps those doves in work,
Ruth Elleson © 2009