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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.
25 Mar 2009
Jenůfa — English National Opera, London Coliseum
Janáček enthusiasts in London have been spoiled this month: opening the day before English Touring Opera’s Katya Kabanova, David Alden’s staging of Jenůfa made a welcome return to the Coliseum following its original double Olivier Award-winning run in 2006.
One of the awards on that occasion was for Amanda Roocroft’s
assumption of the title role, and it was thus a luxury to have her back here
for the revival, heading a cast which was otherwise largely new. Clad neatly in
bright blue, this sunny golden-haired Jenůfa is, from the outset, a
contrast both with Charles Edwards’s Act 1 set, dominated by an ugly grey
workshop against a pale sky, and with the gaudy immodesty of
Števa’s hangers-on. Such is the impression made by her initial
good cheer that it is all too painful to follow the effect of the series of
personal tragedies that befall her. One would never think at the outset that
this was a girl who would end up getting married in a plain black dress
(against which her dead child’s red knitted cap is thrown into
particularly poignant relief).
Roocroft’s singing, too, is full of light at the outset, but by the
final curtain has given way to a measured, introverted luminosity. And in
between — well, after hearing of the death of baby Števuška
her voice is as drained and forlorn as the drab wallpaper in the
Kostelnička’s living-room. She had a strong partner in the
Norwegian conductor Elvind Gullberg Jensen — in his ENO debut — who
showed unfailing sensitivity in these moments of personal reflection, even if
he had a tendency to lose the shape of the music in the bigger, public
Jenůfa’s initial sunniness presents just as sharp a contrast
with the Kostelnička, sung by the American mezzo Michaela Martens; though
her singing was powerful and at times gut-wrenchingly intense, barely a word of
the English translation (by Otakar Kraus and Edward Downes) was decipherable,
and her tone had a tendency to spread out at the height of the second-act
monologue. This production makes her rather severe; it is a shame we
didn’t see more of the internal struggle with her own human nature as the
realisation dawns that only she has the means to dispose of
Robert Brubaker’s Laca is quite outstanding, so alive with repressed
anger and frustration that he seldom even stands still. There was a wildness to
some of the louder moments which concerned me slightly at the time, but which
in hindsight I’m convinced must have been an intentional part of his
characterisation; in the final moments of Act 3, his passionate declaration of
love for Jenůfa was delivered in a full-blooded, secure, radiant
fortissimo — and with both feet firmly on the ground. Thomas Randle was
equally ideal as the irresponsible Števa, looking every inch the alpha
male, his bright, cocksure tenor making every note count.
Tom Randle as Steva Buryja and Mairead Buicke as Karolka
Iain Paterson (the only survivor other than Roocroft of the original 2006
run) was quite outstanding as the Foreman, every word delivered with precision
and sensitivity — and Susan Gorton made much of Grandma Buryjovka, her
wordless but telling reaction to the crass insensitivity of Karolka and family
supplying a rare but welcome moment of comic relief in Act 3.
David Alden’s staging has a few incongruous details; neither the
motorcycle on which Števa makes his first entrance, nor the
colourfully-clad village girls who dance for Jenufa prior to her wedding, seem
appropriate to the time and place. And the production bothered me more second
time around than it did when new. In the dreary surroundings of a small
industrial plant in the 1940s or thereabouts, the insistent staccato of the
opening orchestral theme is accompanied by flashes of light from welding tools
rather than the turning of a mill-wheel. The indoor setting of the second and
third acts is no more attractive, with slabs of old cardboard keeping out the
world in the place of closed shutters. Is the sadness, frustration and violence
in these people’s lives an inevitable result of miserable surroundings,
and not a product of their personal circumstances? It’s a valid
interpretation, if not one that makes for visually striking stage pictures.
Ruth Elleson © 2009