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Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
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.