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Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
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.
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