Recently in Reviews
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.