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‘Mack does bad things.’ The tabloid headline that convinces Rory
Kinnear’s surly, sharp-suited Macheath that it might be time to take a
short holiday epitomizes the cold, understated menace of Rufus Norris’s
production of Simon Stephens’ new adaptation of The Threepenny
Opera at the Olivier Theatre.
On May 25, 2016, Los Angeles Opera presented a revival of the Herbert Ross production of Giacomo Puccini’s opera, La bohème. Stage director, Peter Kazaras, made use of the Dorothy Chandler Pavilion’s wide stage by setting some scenes usually seen inside the garret on the surrounding roof instead.
On May 21, 2016, Ars Minerva presented The Amazons in the Fortunate Isles (Le Amazzoni nelle Isole Fortunate), an opera consisting of a prologue and three acts by seventeenth century Venetian composer Carlo Pallavicino.
While Pegida anti-refugee demonstrations have been taking place for a while
now in Dresden, there was something noble about the Semperoper with its banners
declaring all are welcome, listing Othello, the Turk, and the hedon Papageno as
Opera houses’ neglect of Leoš Janáček remains one
of the most baffling of the many baffling aspects of the
‘repertoire’. At least three of the composer’s operas
would be perfect introductions to the art form: Jenůfa,
Katya Kabanova, or The Cunning Little Vixen would surely
hook most for life.
It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.
Die Meistersinger at the theatre in which it was premiered, on
Wagner’s birthday: an inviting prospect by any standards, still more so
given the director, conductor, and cast, still more so given the opportunity to
see three different productions within little more than a couple of
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
22 May 2009
Norma by English Touring Opera
English Touring Opera continued its 30th anniversary celebrations with six concert performances of Norma, sung — unusually for ETO — in Italian, in a touring footprint which has some common ground with the ongoing staged tour of Katya Kabanova and The Magic Flute, but which is effectively an entirely separate tour.
The Norma was Yvonne Howard, a career mezzo whose recent forays into the soprano repertoire (notably, Leonore for Opera Holland Park and Lady Macbeth for Opera North) have been proving consistently successful. She undoubtedly sounds more soprano than mezzo these days, her voice brighter-hued than that of the Adalgisa, Alwyn Mellor, and her top notes easily produced and fully integrated with the rest of her voice. Though both women acquitted themselves admirably, it’s always difficult to ensure an adequate contrast between the two voices, and with this cast it didn’t come off; Mellor is a soprano, but a dark-toned, weighty one, and without knowing the plot it would have been impossible to tell which of the two women was meant to be the younger.
Under the baton of Michael Rosewell, Bellini’s score sounded classy, the four-square rhythms of the choruses crisp and poised, and the legato of the female-voice numbers elegant. The acoustic of Cadogan Hall has the benefit of making small forces sound full-bodied and substantial; I need not have worried about the volume limitations of an 18-strong chorus and an orchestra of fewer than 40. At the same time, solo voices can also carry well here, with Howard’s beautifully contained pianissimo in ‘Casta diva’ set off by the subtle orchestral texture. And the hall gives an immediacy to the opera’s more intimate dialogues, especially those between the two women; the soft opening section of ‘Mira, o Norma’ felt as though the audience were intruding upon a very private moment. One wonders whether the conversational style of the duets came across quite so powerfully at the tour’s larger venues, which included Exeter Cathedral.
Elsewhere the balance was more problematic, with the chorus tenors drowning out the women’s voices, and an excess of bassy orchestral sound threatening to overwhelm the tenor Justin Lavender in Pollione’s opening aria. Lavender was somewhat wooden and he failed to give the vocal line much shape; Piotr Lempa’s Oroveso was vocally adequate but rather stiff and characterless.
Considering the musical intimacy between the female voices, it was a shame that the opera was given in such strict ‘concert’ fashion. Though entrances and exits were made as necessary in a cursory step towards being semi-staged, the duetting singers always facing straight ahead and barely exchanging glances with one another.
Michael Rosewell [Photo courtesy of English Touring Opera]
The roles of Flavio and Clotilde were satisfactorily taken by Charne Rochford and Helen Johnson, who doubled as members of the chorus.
Onto the autumn, and ETO’s next project - in celebration both of its own anniversary and of Handel’s — will be the staging of five different Handel operas, in a tour which commences in October at the Britten Theatre at the Royal College of Music.
Ruth Elleson © 2009