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After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
second city of Novi Sad on 27th October would be transplanted from
6th century BC Babylon to post-Saddam Hussein Tikrit or some
bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.
Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
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.