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Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
26 Apr 2009
Walter Braunfels’s Die Vögel at Los Angeles Opera
The Recovered Voices series at Los Angeles Opera, in its second season, springs from James Conlon’s fascination and love for the operas of composers whose lives and/or careers came to an end under the Nazi regime.
Thanks to the support of Marilyn Ziering and the Ziering Family Foundation, Los Angeles Opera can bring to the stage operas otherwise unlikely to receive a production at a major house, although at one time most of the operas featured so far or planned for the series had that distinction. In fact, Walter Braunfels’s Die Vögel (The Birds) apparently enjoyed a fair amount of success before WWII threw a shadow over both the opera and its composer. Seen on Saturday, April 18th, that initial success and subsequent obscurity both became understandable.
An allegory adapted from Aristophanes’s play of the same title, Die Vögel begins with Good Hope (Brandon Johanovich) and Loyal Friend (James Johnson) on a search for Hoopoe, leader of the birds. The humans want to join the birds, finding their own species increasingly repugnant (an important aspect undramatized by the libretto). The birds, initially suspect, eventually accept the men, who then motivate the birds to establish a “bird civilization” in the clouds, to rival that of man’s below. This somehow upsets Zeus, as Prometheus warns the birds, to no avail. Zeus strikes the bird civilization with thunderbolts, and the men, realizing their complicity in the disaster, leave. Good Hope exits with a broken heart, however, as he had fallen in love with the Nightingale. There’s too little of Aristophanes’s stinging wit or satire, and most of the opera comes across as a feeble Magic Flute-wannabe, with Good Hope as an ersatz Tamino.
The first act, the shorter of the two, starts with some quite lovely music, including a vocalise for the Nightingale. However, the narrative’s lack of conflict or conventional development means that Braunfel’s score always seems to be excited or passionate about events that don’t warrant the emotional outpouring. The second act picks up the pace somewhat, and the last 30 minutes or so of the opera soars with the birds, as the humans wish to do. The intervention of Prometheus makes no sense, and probably isn’t intended to, but Brian Mulligan sang his set piece with dark gusto. After Zeus’s dramatic attack on the bird city, the birds gather on stage for a gorgeous ensemble, and as the men leave, the Nightingale, a high-lying role for coloratura, reappears, to sing as Good Hope takes his sad leave.
Conlon directed a fine cast, with Désirée Ranactore managing the challenging music of the Nightingale skillfully enough to make understandable Good Hope’s obsession with her. Martin Gantner as Hoopoe and James Johnson as Loyal Friend sang their thinly characterized parts well, but the star of the men was last year’s Richard Tucker winner, tenor Brandon Johanovich. His is a big, masculine sound, with an easy top at this young stage of his career. The opera world will probably be looking to have him sing some of the bigger tenor assignments. He already has a Turiddu and Cavaradossi or two under his belt. Hopefully he won’t be tempted to even larger roles, as his talent, if carefully nourished, should produce a long and rewarding career.
Darko Tresnjak, of the San Diego Old Globe Theater, directed this silliness probably as well as just about anyone could. Scenery designer David P. Gordon’s set oddly combined palm trees and a series of six or seven luminous cloud shapes, set up in three rows. The transformation to the bird city probably would have made more sense if it had been more than some tiny Greek temples affixed to stilts. Linda Cho’s costumes designs also seemed to go for a sort of silky Ancient Greek tunic look, except for the fairly contemporary look of the humans. As not a lot of sense was being made on stage, nonsense designs couldn’t hurt.
Braunfels’s score certainly received all the attention and love from James Conlon any conductor could lavish upon it. Despite the fine singing and superior orchestral performance, this run of Die Vögel hasn’t revealed a lost masterpiece. The afternoon had some delights, however, so opera lovers a bit jaded with the usual repertory have to be thankful for the exposure to a work of such rarity. Next season, the Recovered Voices series continues with Franz Schreker’s Die Gezeichneten.