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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.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
05 Mar 2009
Dr Atomic lands on London with a bang
To say that Dr Atomic landed in London with a bang is shocking, but the subject it deals with is meant to be disturbing. Unlike the scientists at Los Alamos, we can’t live in denial of the wider implications. This isn’t history. It’s a universal dilemma, utterly relevant today.
On the surface, there’s little overt action. Oppenheimer and his colleagues stand about talking, but therein lies the drama. But remember Waiting for Godot. The angst is existential, directed inwards. There is no overt commentary in the libretto, either. Instead, texts are taken from documents and letters of the time, presenting evidence without explicit judgement, for there are no easy answers. The words hang in limbo, like the photograph of the wall in Hiroshima standing amid the rubble, a mute witness to horror.
The atmosphere is claustrophobic, tinged with paranoia. If the action drags at first, it recreates the tedium and tension at Los Alamos, which is central to the drama. How do scientists, men of reason, get caught up in barbarity? Oppenheimer himself was an educated, civilized man who was later persecuted for his political beliefs. The scientists on the Manhattan project didn’t know the full consequences of what they were doing and were in denial. Audiences at Dr Atomic have images of Hiroshima and the Cold War seared into their memories and cannot escape.
The lyrical episodes Adams builds into the opera are essential to the whole meaning of the opera. Oppenheimer quotes Donne, Baudelaire and other poetry. It’s an escape to a more ideal world, but he’s deeply conflicted. The song “Batter my heart” is Ground Zero in this opera, utterly pivotal and beautifully written. Gerald Finley sings it with conviction, and doesn’t flinch from its irony. “Reason
.me should defend, but is captived, and proves weak or untrue”. It’s so powerful that it would obliterate anything that followed. We leave the first act stunned, to ponder it in the interval.
Perhaps the secret to this opera is not to expect action from the words, but from the music. Orchestrally, this is surprising rich and beautiful, the choruses in particularly well supported. The ENO chorus and orchestra have performed Adams before, most recently Nixon in China but this isn’t traditional repertoire, so they deserve credit for achieving such good results. Lawrence Renes conducted the European premiere of the original staging at Der Nederlandse Opera in 2007. Experience shows.
This production, by Penny Woolcock, who directed the Death of Klinghoffer film, makes much of the Teva Pueblo. Just as the scientists do the bidding of politicians, the Pueblo serve the scientists. But they observe, they are the conscience of nature. The production starts with a wall of photographs showing the scientists formally posing, as if for mug shots. Later, they are replaced by Pueblo, standing in the cavities of the wall, as if in a massive canyon. They sing from the Bhagavad-gita, prophecying doom. “Your shape stupendous”, they repeat, to booming percussion, “All the worlds are fear struck”.
Special mention should be made of Meredith Arwady’s dark contralto, seething suppressed passion. Pasqualita is a small part, but essential. Kitty is too distressed to mother her baby, but Pasqualita nurtures.
Full Stage [Photo by Catherine Ashmore]
The final scene is overwhelming. The orchestra builds up to a harrowing climax, rolling thunder as it the skies were rent asunder. As the cast stare upward, transfixed, the bomb explodes. The whole auditorium is bathed in unearthly yellow light. This is what “awesome” really means - it is magnificent as theatre. But lest we be too impressed, the voice of a Japanese woman cries out for water. All that power, all that knowledge, was to be channelled for destruction.
Superb singing from Gerald Finley who has made Oppenheimer his speciality, and also for Brindley Sherratt who was impressive recently as Pimen in Boris Gudonov. Sasha Cooke characterises the brittle Kitty well. The whole cast is strong but chorus and orchestra ground the production with firm purpose. The whole cast is strong but chorus and orchestra ground the production with firm purpose. The ENO has long had a reputation for choosing innovative and challenging work : this Dr Atomic epitomises what the ENO stands for.