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Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.