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‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
05 Mar 2009
La bohème — English National Opera
Jonathan Miller's new production of Puccini's wintry opera was denied its planned opening night on Monday 2nd February by a bout of unusually heavy snow which brought most of London's transport services to a halt and turned it into a virtual ghost town (thus, up the road at Covent Garden, the cancellation of a performance of Korngold's 'Die tote Stadt' was equally ironic).
As a staging, it has all the hallmarks of a future classic of the ENO repertoire. Isabella Bywater’s naturalistic set is as easy on the eye as Amanda Holden’s fluid new translation is on the ear, while Jean Kalman’s lighting handsomely sets off the wide attic windows and silhouetted rooftops. Fast-forward a couple of seasons to an above-average revival; the rough edges of the staging will have been smoothed over, the perfect cast will be engaged, and everything will ‘click’. The previous production - which was less distinctive than this - was memorable thanks to a succession of lively and well-matched ensembles of soloists.
That, alas, was what this new production lacked. As Mimì, the sweet but pallid soprano of the American soprano Melody Moore lacked warmth and passion; Alfie Boe was a fine Rodolfo a few years ago at Glyndebourne, but that’s a much smaller house, and his is not a large voice - he was frequently swallowed up by the orchestral texture. But a much greater problem was their credibility as a couple, with almost no chemistry between them. Admittedly the costumes were unhelpful: Moore has youth on her side, but a dowdy wig and unflattering dresses made her matronly and plain, not to mention improbably strong and healthy for a fragile heroine whose very identity is defined by a diminutive pet-name. In comparison to the small-framed Boe’s amiable and boyish Rodolfo, Moore’s Mimì seemed like a sensible elder sister.
Hanan Alattar (Musetta)
Alfie Boe (Rodolfo)
Musetta, Hanan Alattar, somehow failed to dominate Act 2, and her sharply focused soprano remained pert and hard-edged right up to the end, though her characterisation gained in warmth and was quite touching. Best among the soloists was the congenial, warm-voiced Roland Wood as Marcello, and Pauls Putninš’ distinctive bass brought considerable pathos to Colline.
The set - with buildings that revolve into various configurations to create the various locations - evokes a down-at-heel 1930s Paris. Appropriately, the garret scenes take place on an upper level, which caused a few acoustic issues from where I was sitting in the Stalls. The cast were sometimes overwhelmed by the orchestra, particularly in the fast-moving banter of Act 1. It wasn’t until Act 3, when the soloists are at ground level and not lost in the ensemble, that the vocal projection was really satisfactory. The split level creates a dramatic issue too, with the staircase up to the Bohemians’ doorway forming the focal point of the set: none of the entrances are a surprise, from Benoit’s in Act 1 to Musetta’s in Act 4. The sole purpose of its central placement seems to be to throw focus on Schaunard (David Stout) towards the end as he leaves Rodolfo and Mimì alone.
Alfie Boe (Rodolfo), Melody Moore (Mimì), David Stout (Schaunard), Pauls Putnins (Colline), Roland Wood (Marcello)
In his house debut, conductor Miguel Harth-Bedoya gave a musically competent, lucid reading, but it was short on warmth and there was little sense of connection between pit and stage.
I mustn’t ignore the positives: Simon Butteriss’s sleazy Benoit was a highly entertaining cameo, and Act 3 was really well-staged, with well-directed cameos from members of the chorus and (finally) some believable emotional interplay between the two couples. But at the end of the evening, though I found myself sorry for Mimì’s death, I was quite indifferent to Rodolfo’s loss. If only I could have believed they were ever in love.
Ruth Elleson © 2009