Recently in Reviews
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.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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