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On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
Director Richard Jones never met an opera he couldn’t ‘change,’ and Canadian Opera Company’s sumptuously sung Ariodante was a case in point.
I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
Canadian Opera Company has assembled a commendable Norma that is long on ritual imagery and war machinery.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
03 May 2009
The End of Bewilderment — The New Florence-Valencia Production of “Gőtterdämmerung”
April 29th is Zubin Mehta’s birthday. As a gift to its most beloved musical director, Florence unveiled a new production of Götterdämmerung, a joint Ring Cycle venture with the Valencia Opera started two years ago.
After a performance lasting six hours (including two intermissions), Zubin and the full cast had a 15 minutes standing ovation by an audience packing every one of the 2.500 seats of the huge Teatro Comunale. Then, 250 lucky guests moved to a Gala Birthday Dinner in Palazzo Tornabuoni; we returned to our hotel at around 3 a.m. After a run in Florence until May 9th, the production will be seen in Valencia in June at the Palau de les Arts Reina Sofía, where in July a full fledge Ring Cycle is scheduled. According to present plans, the full Cycle will be back in Florence in 2013, the bicentenary of Wagner’s birth, for the inauguration of the new Park of the Music now being built near the main Railway Station.
The Florence- Valencia Götterdämmerung and the other parts of the Cycle (shown in June 2007 and in October 2008) have been greeted by the Italian press as “the very best Ring” of the first part of the XXI century. Before expressing such a strong opinion, I would want to see, at least, the two new productions of Götterdämmerung completing the Ring Cycles of Cologne-Venice (next June) and Aix-en-Provence - Salzburg (next July). No doubt, the Florence-Valencia Ring is a landmark not only for the interpretation of Wagner masterpiece but for the musical theatre as a whole. It is the end of bewilderment in a live musical theatre performance.
Three years ago when the project was presented, the whole idea seemed daring and a bit foolish: to entrust the production of the Ring to the Catalan avant-garde group La Fura dels Baus ; in its previous operating experience (e.g. Debussy’s Le Marthyre de Saint Sebastien ) La Fura has drastically cut the score and introduced fully naked mimes and rather explicit stage movements. It appears (but is could be a hearsay) that at the initial contact, La Fura expressed the intention to compact in two-three hour the nearly 15 hour score, horrifying Maestro Mehta who just in Florence had conducted in 1979-81 a memorable Ring. Gradually Carlus Pedrissa (the stage director) and La Fura developed an entirely new approach to the Cycle. This approach is in full bloom in Götterdämmerung. There are not any socio-political undertones, but a delicate balance between science fiction and poetry. Science fiction is modern XXI century way to represent the myth: all possible special effects are employed (3D movie projections on ten screens , elaborate stage machinery, flying objects, suspended swimming pools for the Rhinemaiden, complex lightings, the audience participation in Siegfried’s funeral march). And the myth? It does not revolve around the end of capitalistic industrial world and the promise of a better new age, but it is based upon the final verses of “Siegfried’sTod”, the initial text of what three decades later, became the Ring. These verses were never put to music in Götterdämmerung (indeed deleted from the final text - in nearly 30 year the young red hot revolutionary Richard Wagner had became a bourgeois himself); in short, they state that after the fall of the Gods, in a world without Lord, there will be only Love”. A lay pantheistic simple philosophy.
If the set and direction are the end of bewilderment, the reviewer is bewildered by the harmony between the stage, the pit and the voices. La Fura has been an earnest and successful effort to follow each and every note of the score.
As the triumph of love is the main theme of this Götterdämmerung, love itself is being rhapsodized in all possible combinations: conjugal love in the “day break”, wild sex (nearly a rape with coitus interruptus) in Siegfried’s approach to a sensual , and sex starving Gutrune, a full orgy in Brünnhilde’s rock, teasing petting in the scene of Siegfried with the Rhinemaden , lust for unsatisfied love by Günther, Hagen and Alberich . Again as love is at the center of Götterdämmerung as well as of the Ring , Mehta has a lyric approach to the score , quite different from that (very dramatic) of the Florence 1979-81 Ring. The Maggio Musicale Orchestra and Chorus responded in an excellent manner.
Also, both Mehta and La Fura have, at their disposal, a better cast of singers and actors than that of the 1979-81 when Jean Cox as Siegfried was already way over bend. Lance Ryan is well known to the American and German audience, but he has seldom sung in Italy. Notably, he has never shown his athletic qualities. In this Götterdämmerung, as soon as he is welcome to dinner in the Gibichung royal hall, the Canadian tenor, as any good red blooded but well mannered North American, takes off his dirty forest wilderness clothes to shower and put on a proper attire: his high “Cs” and legatos are beautiful under the shower and when , due to Hagen’s potion, tries to do it with Gutrune on the dinner table and in front of his hosts. He can even sing hanging by his feet in the confrontation with in Brünnhilde in the second act. And he can shoot an acute after another. Not a full heldentenor, but a very good tenor with a crystal clear timbre.
Brünnhilde is another North American , Jennifer Wilson, recently applauded as Isolde in Los Angeles. She is as overweight as expected by a Walkyrie and, albeit very good with the high tonalities, she has some difficulties in descending to low pitched tones. She masters the role technically by molding the use of her voice to fully explode in the final holocaust scene.
The Ghichung Kingdom is a modern Metropolis for rather vulgar nouveaux riches. In the smoke stocks of a declining industrial society, a ticker - similar to those of Cnbc or any other all news TV financial channels - reports the stock exchange news. Gutrune is a sexy lyric soprano (Bernardette Flaitz), Günther a well round baritone (Stefan Stoll), Hagen a deep basso (Hans Peter Köning), Alberich a less deep basso bordering on a baritone voice (Franz-Joseph Kapellman). Of all the other singers, a special mention is needed for Catherine Wyn-Rogers (Waltraute), the only semi-Divinity in this very human Gesmtkunswerk (total theater) centered on love.