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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.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
13 May 2009
Peter Grimes — English National Opera, London Coliseum
In David Alden’s extraordinary new staging of Britten’s
masterpiece, with sets by Paul Steinberg, the Borough is populated by stylised
grotesques, a clever twist on the opera’s existing ‘Little
England’ character stereotypes.
In one of the production’s
creepiest moments, the big man-hunt chorus in the middle of Act 3 is
accompanied by waving of miniature Union Jacks.
Everyone you focus on has a darker secret than the last. At the more normal
end of the range are Felicity Palmer’s Miss Marple-esque Mrs Sedley and
Leigh Melrose’s apparently speed-addicted Ned Keene. The most disturbing
include Darren Jeffery’s Hobson, who appears to have a whole boy-killing
factory of his own going on unnoticed right under everybody else’s noses.
Weirdest of all are Auntie and the Nieces — Rebecca de Pont Davies as a
club-footed cross-dresser with a pinstripe suit and walking cane, and Mairéad
Buicke and Gillian Ramm as a pair of possessed zombie twins in identical school
uniform and pigtails. The Nieces are the production’s only faintly
jarring note, with their vacant and jerky choreography which makes them barely
even recognisable as human beings, but if they have one dramatic function
it’s giving a new layer of depravity to Bob Boles, Swallow and everybody
else who shows a sexual interest in them. Perhaps they are the ultimate product
of this diseased community.
Yes, it’s the norm here to be disturbed, deformed or damaged (even
Balstrode, sung by the excellent Gerald Finley, is missing an arm —
besides the costumes, this is the most obvious visual clue to the
production’s 1940s setting, though Auntie seems a throwback to the 30s)
and Peter and Ellen are seemingly the only complete and sane individuals among
them. Although her even-temperedness and common sense make her stand out from
her neighbours, Ellen is integrated into the community — a community
where people do everything together, moving in swarms — but Grimes is a
loner, and it is this and this alone which leads to his becoming the local
scapegoat. By the end, they have poisoned him into madness, but at least he is
able to escape through death. Ellen is the one who has to live with it all, and
I dare say she fits right in with the rest of them after all she has been
through. With Amanda Roocroft in the role, there are echoes of her recent,
brilliant Jenufa here — a bright-natured, attractive young woman worn
down through her experiences. At times her singing is shrill on top and her
diction indifferent, but her character portrait is spot on, the relationship
with Grimes filled with real tenderness.
The Australian tenor Stuart Skelton is as fine a Grimes as you could wish to
hear, wielding both his large voice and burly physique with intelligence and
subtlety. Emerging from the man-hunt and the subsequent pained calm of the
final interlude, Alden’s staging of the mad scene is devastating in its
simplicity: the surtitle screen and orchestra pit go dark, and Grimes is alone
in the abyss beneath a grey and foggy sky. Skelton maximises the effect the
solitude of the setting with a performance of heartbreaking vulnerability and
Peter Grimes (Stuart Skelton); Auntie (Rebecca de Pont Davies) (front rt); Bob Boles (Michael Colvin) (front rt in upturned chair); First Niece (Gillian Ramm) (lying down front nearest); Second Niece (Mairéad Buicke) (behind first neice)
As Grimes hears the drum-led procession approaching his hut — in a
clear and chilling musical echo of his vision, moments earlier, of the first
dead boy — he is distracted into letting go of the rope with which he is
making safe John’s descent down the cliff. Thus the villagers become
directly responsible both for the death of the apprentice and for Peter’s
self-destruction as a result of it. It is a heart-stopping coup-de-theatre.
In the two years that Ed Gardner has been ENO’s Musical Director I
don’t think he has ever drawn a better performance from the house
orchestra than in this detailed but never fussy account of the score. The
playing of the interludes was virtually faultless, with a particularly
memorable brass timbre, the jazzy shape of the phrases in the Storm Interlude
crafted so as to introduce the incongruous 1930s vintage of the inhabitants of
the Boar. A number of remarkable and inventive Grimes stagings have been seen
in London this decade, but musically, this is head and shoulders above the
others. It is perhaps ENO’s finest musical achievement this decade.
Ruth Elleson © 2009