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Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
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