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In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
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.