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O/MODƏRNT is Swedish for ‘un/modern’. It is also the name of the festival — curated by artistic director Hugo Ticciati and held
annually since 2011 at the Ulriksdal’s Palace Theatre, Confidencen — which aims to look back and celebrate the past ‘by
exploring the relationships between the work of old composers and the artistic and intellectual creations of modern culture’.
Matthias Goerne and Menahem Pressler at the Wigmore Hall, London, an intriguing recital on many levels. Goerne programmes are always imaginative, bringing out new perspectives, enhancing our appreciation of the depth and intelligence that makes Lieder such a rewarding experience. Menahem Pressler is extremely experienced as a soloist and chamber musician, but hasn't really ventured into song to the extent that other pianists, like Brendel, Eschenbach or Richter, for starters. He's not the first name that springs to mind as Lieder accompanist. Therein lay the pleasure !
It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
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