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An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent. Holten connects Der fliegende Holländer to Der Meistersinger von Nürnberg and even to Parsifal by bringing out sub-texts on artistic creativity and metaphysics. And what amazing theatre this is, too, and very sensitive to the abstract cues in the music. .
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
15 Mar 2009
Don Giovanni — Victorian Opera
Each Australia state maintains its own opera company. The dominant company is Opera Australia, a permanent ensemble based at the Sydney Opera House but which originated in the Melbourne based National Theatre Opera Company in the 1940s.
Headed by the Melba protégée soprano Gertrude Johnson the company
grew in stature and by the 1950s featured expatriate singers such as Marjorie
Lawrence (whose centenary passed on 17 February this year) as Amneris in
Aida and another Melba protégée John Brownlee as Don Giovanni. The
company gave joint seasons in Sydney with the National Opera of New South
Wales. The Sydney company recruited many of the singers from Johnson’s
company and, in 1956 as part of the larger Australian Elizabethan Theatre
Trust founded what is now Opera Australia. As a national company a
requirement of Opera Australia’s funding is that it tour but performances
outside of Sydney are almost exclusively to Melbourne for seasons between
April and June and November and December each year.
Meanwhile companies established in other sates during the 1960s and in
1976 the Victoria State Opera formed and seasons by both companies continued
until 1996 when financial difficulties caused the Victorian company to be
absorbed by the national company and cease to exist. A decade later Victorian
Opera was founded under the artistic direction of former Opera Australia
staff conductor Richard Gill. Productions are modest to look at and use
emerging singers but the musical preparation is scrupulous and the singers
perform the roles rather than learn them as rarely-performing covers as
trainees in a larger company would do.
French director Jean Pierre Mignon has long been resident in Australia
where he established a theatre company that produced, among other things,
Molière’s version of the Don Juan legend. Mignon’s production of the
opera is reminiscent of Molière’s farce and the intimacy of the production
allows for subtle comedy more than usual in the opera. The Don himself
(Samuel Dundas), dressed in a gleaming white costume, the reverse of his true
colours, is an arrogant and conceited young pup (that so young-looking a Don
has notched up so many conquests beggars’ belief). Although his voice is
still young and light toned, he uses it with great skill, projecting the text
in very good Italian and giving it shape and nuance. He has a good grasp of
the Don’s mercurial character too, physically handsome he also conveys the
swaggering, aristocratic arrogance and, above all, the snake-eyed charm. With
only two modest arias Don Giovanni’s persona lives through music involving
other characters. Dundas savors these moments and is even more impressive in
the recititative passages, making them carry the bulk of his
characterization. An example is the brief scene with Zerlina (Michelle
Buscemi) before their duet “La ci darem la mano” where he seems to taste
the honey of his own words. Only the softest parts of the music, the opening
phrase of “La ci darem” and the mandolin serenade need the elusive
Samuel Dundas (Don Giovanni) and Andrew Collis (Leporello) [Photo by Jeff Busby/Victorian Opera]
Zerlina’s music suits Buscemi’s silvery voice and she conveys
Zerlina's gentle eroticism, ecstatically sighing the words “toccami qua”
in ‘Vedrai, carino’ with same understanding as Dundas conveying
Giovanni’s lust. Tiffany Speight sings regularly with Opera Australia and
has established herself in the lighter Mozart roles. A splendid Zerlina she
steps up to the dominant female character Donna Elvira. Speights’s radiant
soprano easily encompassed the music including the often-difficult lower
passages in the epilogue and elsewhere. She is a very subtle comedienne too,
doomed by her unshakable obsession with the faithless Don her Elvira flusters
like a frustrated schoolmistress. The Prague version of the opera was
performed (eliminating Don Ottavio’s “Dalla sua pace” and Elvira’s
“Mi tradi”) which is a pity as Speight would have crowned a spectacular
performance had she been allowed “Mi Tradi”. As Don Giovanni’s sidekick
Andrew Collis is another more experienced singer who creates an oily
Leporello, the director relating him back to the character, Sganarelle, in
Molière’s play. His ‘catalogue’ aria bubbles with vulgarity and just a
hint of admiration for his master’s virility. With no sign of stage nerves,
Dundas is a natural clown too and with Speight and Collis made the serenading
scene in act two hilarious without undermining the beauty of the music.
Donna Anna’s music presented a challenge to Caroline Wenborne but she
managed the difficult fioritura without any compromises. The fearful drama in
"Or sai chi l'onore" was less evident but again her performance was musically
intelligent. James Egglestone was equally adept at Don Ottavio's 'Il mio
tesoro'. Pity his “Dalla su pace” was omitted as it would have suited his
well supported and focused tenor voice. The vocal preparation of all of the
soloists was obviously thorough and the intimate scale allowed for some
dramatic details that would never work in a larger theatre. The Don, for
example, gives Zerlina a flower which drops suggestively from her hand at the
end of “La ci darem la mano” and is retrieved and re-used, like the Don's
come-on lines, until it ends up planted in Elvira's hopeful cleavage.
Richard Roberts’s set is a marvel of economy, transforming from back
streets to a Moorish palace and sinister tomb. Steeply raked and angled it
suggested the endless corners Don Giovanni backs into and escapes from.
Performed in the old National Theatre (named after Johnson’s enterprise and
where a portrait of her, knife raised, as the Queen of the Night fearlessly
protects what remains of her legacy) which seats 500 has the intimacy to put
Mozart’s masterpiece under a microscope. With a small chorus it was played
and sung without perhaps the greatest refinement but with undoubted
professionalism and a constant feeling for the excitement of the story and
3, 5, 7, 10, 12 & 14 March, followed by a metropolitan and regional
Victorian tour between 28 March and 25 April 2009