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Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
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.
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