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This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
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