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All told, this was probably the best Don Giovanni I have seen and heard. Judging opera performances - perhaps we should not be ‘judging’ at all, but let us leave that on one side - is a difficult task: there are so many variables, at least as many as in a play and a concert combined, but then there is the issue of that ‘combination’ too.
Can one justly “review” a streamed performance? Probably not.
But however different or diminished such a performance, one can—and
must—bear witness to such an event when it represents a landmark in the
evolution of an art form.
For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
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