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Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
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.
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