Recently in Reviews
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
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