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Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.
Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.
Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
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