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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.
21 Jun 2009
Alceste by The Collegiate Chorale
The Collegiate Chorale (ably supported by the orchestra of the New York City
Opera under George Manahan) chose Gluck’s Alceste, last heard in
New York at the City Opera in 1982, for its annual spring concert opera —
an excellent choice for a chorus eager to show its stuff.
That Gluck, halfway between the baroque revival and the Mozartean standards,
is on a roll is not news. Orfeo is performed all over the place
— it always has been — but in more and more headline-grabbing
productions. Iphigénie en Tauride has become almost a repertory item
— Susan Graham does it everywhere, and other singers are taking it up. I
heard Iphigénie en Aulide in Rome last March (in a production borrowed
from La Scala), Armide was recently staged in Berlin, and
Alceste will be given in Santa Fe this summer with Christine Brewer.
Paride ed Elena is a workout — essentially two singers in a
long, aria-by-aria, seduction — so it’s not surprising that that
remains a rarity.
In Alceste, Gluck uses the chorus in his stately way to set the
scene in his three acts, creating a mood (somber in Act I, joyous in Act II,
hellish in Act III) against which the principals create the drama by vivid
contrast. In Act I, Alceste resists the helpless sorrow of the people of
Thessaly, bewailing the imminent death of their king — she will take
action, offering herself to death in her husband’s stead. In Act II, the
rejoicing of the populace is again a setting for Alceste, when she admits to
her husband what she has done, plunging everyone into mourning yet again. In
Act III, the raucous Hercule breaks the spirit of the Underworld denizens and
saves Alceste. The chorus is thus fundamental to the action by creating a
musical backdrop against which the individual may become heroic. The mass and
weight and careful diction of the Collegiate were impressive, though the many
solo lines spread among them (Gluck’s idea: so we can take them for
individual inhabitants of Thessaly in a national crisis and not just anonymous
masses) did not sound of proper operatic caliber.
Alceste usually gets trundled out for some aging, rather placid grande dame
— few characters ever lose their cool in Gluck, and Alceste’s
emotions are grandly presented — seething beneath a surface of good
manners. Technical control and subtle acting are cues for the part —
Alceste does not have a huge orchestra to contend with, but she must express
her despairs and her resolve with dignity and economy.
Deborah Voigt’s voice was once a technical marvel, though seldom
expressive. For whatever reasons (and she was singing through a cold on this
occasion), she is no longer fully in control of her voice. Phrases droop from
pitch or blare forth undirected. Her famous aria at the conclusion of Act I,
“Divinités du Styx,” was sung with full technical command but
slight feeling; her quieter, more introspective aria at the opening of Act II
was a rare, affecting moment when the singer was playing the part, not simply
vocalizing. Voigt has been a fine Cassandre in Les Troyens, a role
that would seem to offer a key to a fine Alceste, but on this occasion the
music got away from her.
The singer who brought down the house was Vinson Cole, a veteran called in
as Admète when Marcello Giordani had to cancel. I heard Cole sing Gluck twenty
years ago, in the French version of Orphée, where he was suave,
yearning, thrilling, far more effective in the part than the altos who usually
sing it (in the Italian version). His Admète was a stunner: the voice so
youthful (belying his white hair), so liquid, so lyrically expressive that the
opera’s focus became his anguish rather than Alceste’s sacrifice.
Richard Zeller made a good roustabout Hercule, Kyungmook Yim was an exciting
Apollon (Admète’s friend in high places), and Ryan Kinsella effective as
the oracle who decrees the substitution possible. Manahan, in the pit, was
always dignified but never boring — the proper style for Gluck.