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Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
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