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On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
12 May 2009
Janáček: Jenůfa and Kátya Kabanová
Recorded four years apart, these two classic recordings of Leos Janáček's dramatic masterpieces now reappear in Decca's The Originals series, thankfully still with full librettos and excellent booklet essays.
Charles Mackerras continues to reign as the supreme conductor of Janáček’s music, and these sets provide further evidence of that, not least by filling up the second discs with other pieces. The Jenůfa set includes the final scene in the revised orchestration that introduced the opera to most of the world, before Mackerras led the return to Janáček’s original score, and the set concludes with an overture considered for the opera but never used. Janáček ‘s Concertino and Capriccio close the Kátya Kabanová set, both in witty performances conducted by David Atherton. The mood of those pieces is quite a bit different from that of the opera, it should be said.
Both sets feature informative essays by John Tyrrell, which give not only detailed background on Janáček’s compositions, including almost academic musical analysis, but also ample information on the original works behind the operas. In the Kabanová booklet Tyrrell’s essay is followed by a note from Mackerras, relating his first exposure to the composer who would become such a large part of his career.
The Kabanová set came in 1978, and its sound world is quite different from that of Jenůfa, composed many years before. The later work comes from the composer’s mature period, and it combines the exciting rhythms and naturalistic declamation found in the earlier work with a richer orchestral fabric, somewhat resembling the textures of his Taras Bulba. However, it seems to be the earlier opera that has established itself as the more performed of the two, undoubtedly due to the power of its story and characters. Both stories deal mainly in pain and distress, but Jenůfa ends with a gorgeous duet of redemptive love, whereas Kabanová’s heroine throws herself into a river, unable to find a way to live a new life or return to her old one. Nonetheless, as pure listening experience, your reviewer finds Kátya Kabanová a more entrancing score to listen to, with its greater variety of tone and mood. Jenůfa, on the other hand, works best on stage, where its characters come to full life, and can break the hearts of most any audience.
Elisabeth Soderstrom stars on both sets, her warm, womanly sound appropriate for both characters, and her command of the idiom as sound as her conductor’s. Peter Dvorsky gets to portray both the handsome but weak Steva of Jenůfa and the handsome but weak Boris in the Kabanová. He does so handsomely, with no weakness. Wieslaw Ochman earns his redemption as Laca with urgent, masculine passion. The Kostelnička, Eva Randova, has a full, secure voice, whereas on stage the role is often taken by a veteran singer whose voice may be worn but who can embody the character convincingly. The counterpart role in Kabanová, Kátya’s mother-in-law, is sung with fierce relish by Nadězda Kniplová.
For any opera lover who somehow never managed to acquire these sets in the long years when they were only available at full-price, now is the time to search them out and add them to your collection. Indispensable.