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Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
07 Apr 2009
Cavalleria Rusticana and I Pagliacci at the MET
The current revival of Cav and Pag at the Met went off like clockwork, with all the comfort and reliability that implies for a repertory house and all the success these tried and true verismo stalwarts merit.
No one was under par but there were very few surprises, few thrills or
chills. But each opera did conceal one surprise — one shock — one
small but significant vocal revelation — that made the evening other than
The spotlight on the curtain just before it rose on Franco
Zeffirelli’s almost too-accurate Sicilian mountain village drew from us
soft gasps of alarm, but it was just an announcement that José Cura, though
suffering from a cold, would be singing both leading tenor roles in any case.
(Domingo, his mentor, used to make such announcements all the time in the
’70s.) In the event, his opening serenade did indeed sound labored
— but when was the last time you heard any tenor, even in the pink of
health, sing that aria of sated love with an easy, leggiero line? For the rest
of the night he was fine, a bit gruff — as he usually is — and with
no ringing at the top, which some might miss. It’s a perfectly decent way
to put these parts over. Gigli fans will mourn, but he’s been dead a long
Ildikó Komlósi as Santuzza and José Cura as Canio in Mascagni’s Cavalleria Rusticana.
I was interested in the ladies of the evening. Ildikó Komlósi sang the most
mellow-sounding Herodias of my experience last fall — no
eldritch screamer but a chic, handsome hostess having trouble controlling her
adolescent daughter — and I wondered how that enjoyable take on Strauss
would translate to Mascagni’s tormented peasant. Komlósi is a fine
actress, and hurled herself about the story and the stage, but her essentially
lyric instrument (though she also sings Amneris and Eboli, which call for
power) did not at first warm to its task, to the expression of desperation
— Santuzza is always on the verge of hysteria, she says nothing calmly,
she opens her mouth and her whole anguished life is in her utterances.
Komlósi’s beautiful voice and Germanic (okay, Hungarian) vibrato are
pleasing, but she did not become intense until the duets with Cura and Alberto
Mastromarino’s dry, not very threatening Alfio pushed her to forget
herself and go wild. Santuzza has tripped up many experienced singers; I did
not feel she had it quite down, but she is a voice and an artist of
No part is too small for Jane Bunnell to make it interesting — on such
character performers do repertory companies rely, and her dignified Mamma Lucia
was a pleasure. But then out came Lola, a youngster from the Met’s
Lindemann Young Artists’s Program, one Ginger Costa Jackson, tall, slim,
very pretty, a bit too whorish about the sashay (an error made by too many
Lolas — she’s a respectable wife in a prudish small town, and no
one but Santuzza suspects she’s anything else), but — the voice! No
light mezzo here (as one is used to), but a deep, penetrating, perfectly
produced contralto with exciting colors. She would make quite an effect in a
range of Handel roles, trouser or otherwise.
Jane Bunnell as Mamma Lucia and José Cura as Canio in Mascagni’s Cavalleria Rusticana.
The lady in Pagliacci — there’s only one, remember
— was Nuccia Focile, a charming soubrette in the past (an adorable
Despina in Cosí fan tutte), who sang a mediocre Nedda, the voice
unsupported, the coloratura imprecise in both “Stridono lassu” and
the play-within-the-play. The only time she rose to the demands of this
curious, death-defying figure was during her impassioned love duet with Silvio
— and here was the evening’s second surprise: Christopher Maltman.
This striking and sexy British baritone, a noted lieder singer as well as a
Billy Budd and a specialist in Mozart roles, filled the house with an easy,
dark, focused, thrilling baritone and was an equally thrilling actor. Too, he
sang with the most perfect Italian enunciation of the night. This is a voice
with star quality and a rare musical intelligence, a singer one is eager to
hear again in a dozen roles or in recital. Beside him, Cura and Mastromarino,
the evening’s Canio and Tonio, sounded effective but ordinary —
they wrung no sobs from me.
Pietro Rizzo had a firm hand on the dramatic flow of the evening in the pit;
the resonant celli seemed especially to flower, and I clearly heard echoes of
Wagner in Pagliacci, whenever Tonio was conniving. The Zeffirelli
staging with all its animals and all its children and all its gradual dawn and
sunset lighting changes and all its clowning extras gives audiences a notion of
what grand opera used to be about, and why young directors have been so eager
to change it. A ringing Canio, a gutsy Santuzza and a real Nedda would make it