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Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.
Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.
Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
22 May 2009
Don Carlos — Opera North, Leeds
Tim Albery’s production was first seen at Opera North in 1993 and has not been revived since 1998, when it was the first production of this opera I ever saw — an English-sung version of the four-act Italian version.
In the interests of context I would always favour five acts, not only for the background to Carlos’s meeting with Elisabeth, but for a fuller introduction to the character of Elisabeth who can be reduced almost to a cipher in the shorter version. But the four-act version is the tauter piece, and in the right hands has the potential to create the greater dramatic impact.
Janice Watson as Elisabeth
Hildegard Bechtler’s sets are austere and claustrophobic, the stage dominated by vast stone walls; even the sun-filled garden outside the cloister is hemmed in and inescapable. When the stage is dark, it is really dark: in the opening and closing scenes at San Giuste, there are times when unmoving figures are barely discernible. A pale grey curtain with a square aperture allows every scene to begin with a framed ‘thumbnail’, a trick which proves effective in clarifying and distilling each dramatic situation. Although the frequent and prolonged scene changes (the vast walls take some time to reconfigure) break up the pace somewhat, the intensity of each scene was such that I welcomed the opportunity to recover. Nothing here is empty spectacle - it is all cleanly focused, and there is no fat on the bones.
There was one particular bone upon which a little more fat would have been welcome. While the theatre’s superb acoustic enhances the volume of the orchestra and soloists, the start of the auto-da-fé scene should be a grand ensemble, and Opera North’s chorus simply sounded as if they would have benefited from a few more extras.
Julian Gavin sang the title role in the 1998 revival, and 11 years on he is no less credible as the young prince. His voice still has that urgent quality which captures Carlos’s angst, but now it’s combined with an open-throated evenness of tone which is really exciting to listen to.
From the start, Brindley Sherratt’s Philip II always seems rather cowed by the burden of responsibility, pale-faced and worn in the plain black costume which makes him look rather small and all too human. His dryish bass, too, captures well a disillusioned monarch who is comparatively easily overcome by the Grand Inquisitor - Clive Bayley, another returner from the 1998 revival, doesn’t really have the deep bass weight one might ideally wish for, but he projects real menace in his bearing.
Janice Watson as Elisabeth [left] and Jane Dutton as Eboli [right]
In her company debut, Janice Watson was a graceful and dignified Elisabeth. Not a natural Verdian, she sang very beautifully up until the last act, but was running out of steam during her aria and struggled to maintain the line in her subsequent duet with Carlos. William Dazeley was hugely impressive as Posa - he is unquestionably slightly on the light side, but he has an intelligent command of the music and is entirely convincing in this role which is so central to the opera. Jane Dutton’s Eboli was alluring and magnetic, with visceral power in ‘O don fatale’.
William Dazeley as Rodrigo [left] and Julian Gavin as Don Carlos [right]
Particularly impressive among the smaller roles was the monk of Robert Winslade Anderson, a dark-toned and focussed young bass who is surely a Philip-in-waiting. Julia Sporsén was a pert and courtly Thibault, and chorus member Kathryn McGuckin was a lyrical and secure Voice from Heaven, standing in for Rebecca Ryan (who, thanks to a visa problem, was stuck on the other side of the world).
Brindley Sherratt at King Philip II [left] and Clive Bayley as The Grand Inquisitor [right]
Conductor Richard Farnes really has the measure of the piece, throwing the score’s many bursts of passion or urgency into relief against the measured pace of the more intimate moments of intrigue. The word-setting in Andrew Porter’s superior translation is intelligent and natural-sounding, and it is delivered with clarity by every member of the cast. A recording is imminent in the Chandos Opera in English series, with most of the same performers; a welcome opportunity to keep for posterity a performance which presents as strong an argument for Verdi in English as we are ever likely to hear.
Ruth Elleson © 2009