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Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
09 Jun 2009
Così fan tutte, English National Opera
ENO's latest new production of Così — their third this decade — made the arts headlines from the start of its rehearsal period when director Abbas Kiarostami found himself unable to secure a UK visa and was forced to withdraw his direct involvement, leaving colleague Elaine Tyler-Hall to deputise.
The staging is an import from Aix-en-Provence, so did at least exist fully-fledged to begin with, but it was nonetheless a major blow to both Kiarostami and ENO that he could not be there to oversee its London revival.
Unlike some other recent opera productions by film directors one may mention, his début does not look or feel especially cinematic. Yes, there are complex animated video projections which provide the backdrop for the majority of the opera, but these seem quite separate from the live action on stage — or rather they seem to add little to the directorial interpretation of the opera as a theatrical piece. The vast calm sea projection looks lovely, but when in the second scene a little red-sailed boat heads slowly across the bay (to collect Ferrando and Guglielmo) it succeeds only in drawing the eye towards it for the entire duration of the scene, detracting attention from the singers. A projected on-stage orchestra for the wedding scene is entertaining at first, but it remains there for the whole of the final scene, and becomes annoying to watch once the real conductor’s beat has drifted slightly out of synch with it.
Otherwise the staging is an entirely conventional and old-fashioned one, disappointingly bypassing any attempt to deal with the opera’s difficult issues surrounding human nature, betrayal, and sexual double-standards. Without the projections (and some really lovely lighting by Jean Kalman) there would have been little else to distinguish this staging from one you might see from a run-of-the-mill touring company in a suburban town hall.
Of course it is highly unlikely that such a town-hall setting would boast two such classy performances as came from the evening’s soprano soloists. First, Fiordiligi: on the evidence of Susan Gritton’s performance of the same role in the previous ENO production, she wasn’t quite in her best voice on this occasion, and remains not entirely comfortable in the lower depths of the role’s enormous vocal range - but she is grippingly passionate, involving, and always intelligent. The other star turn came from young Sophie Bevan, whose confident, spunky Despina was a real highlight, using her diminutive figure to great comic effect in her guises as doctor and lawyer, and singing outstandingly well.
Stephen Page’s incisive and eloquent Don Alfonso easily dominated the two male leads, neither of whom left much of a dramatic mark, and to be honest it was tricky to see quite what the girls saw in them. At least the American baritone Liam Bonner was a vocally attractive and secure Guglielmo, but Canadian tenor Thomas Glenn was lightweight for Ferrando in such a large house, and sang untidily. Mezzo Fiona Murphy, vivacious and sassy as Valencienne in The Merry Widow and Lola in Cavalleria Rusticana, was an warm-voiced but unaccountably characterless Dorabella, and with indifferent diction too.
Sophie Bevan (Despina), Susan Gritton (Fiordiligi), Fiona Murphy (Dorabella), Liam Bonner (Guglielmo) and Thomas Glenn (Ferrando)
The young Swedish conductor Stefan Kingele kept everything brisk and energetic right from the start; the tempo change into the fast section of the overture was brought forward a few bars, so that the second half of the Così fan tutte motif was already charging along at the new pace. He had less success in maintaining a tight ensemble between pit and stage; there were far too many partings of the ways.
The production makes the ending simplistic to the point of nonsense, without any apparent exploration of how the couples’ feelings towards one another may have changed, developed, or turned on their head as a result of the little experiment. None of them seem, ultimately, to have been remotely challenged by it. We are left wondering why Don Alfonso bothered.
Ruth Elleson © 2009