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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.
26 Jun 2009
Gőtterdämmerung in Venice and Kőln — Sex and Politics Behind the Berlin Wall
With Götterdämmerung, a co-production with the Köln Opera House created by Robert Carsen (stage direction), Patrick Kinmonth (sets and costumes) and
Jeffrey Tate (conductor), La Fenice approaches completion of the
La Fenice’s Ring, however, will not be
completed until next season because of complicated programming and budgeting
considerations. Consequently, the prologue, Das Rheingold, will be
seen in the lagoon after the downfall of the Gods and of the Gibichungs’
Kingdom. Moreover, although the Carsen-Kinmonth-Tate team remained unchanged,
many cast changes were made at La Fenice along with a revamping of the sets to
fit its smaller stage.
Chronologically, the Köln-La Fenice Ring is one of the first
to be staged in the 21st century. Its concepts are similar to those of the
“politically oriented” Rings that prevailed from the
mid-70s to the mid-80s, especially in Europe. This first of these
“politically oriented” Rings was the (nearly aborted) La
Scala production created by Luca Ronconi (stage direction) and the Pierluigi
Pizzi (sets and costumes) in 1974. The musical director, Wolfang Sawallisch,
objected to proceeding beyond Die Walküre. The entire project was revived
in Florence (with Zubin Mehta in the pit) in 1979-82. The most widely known of
the “politically oriented” Rings was the Bayreuth
“Centenary” production in 1976 entrusted to Patrice Chéreau and
Pierre Boulez. After four years in the “Holy Hill”, it became a
successful television serial that was also shown in regular movie houses. Now
whilst only photographs remain of the Florence production, the Chéreau-Boulez
Ring is available on DVD. It is fair to say that the saga lends itself
to a political allegory of industrial and political power, of lust for money
and for women, of Nazism’s rise and fall, a direction taken by Luchino
Visconti in his 1971 blockbuster film.
In light of this context, there is something old fashioned in the La Fenice-Köln production. Nevertheless, the Ghibichung Kingdom is not Hitler’s
Reich, but rather East Germany before the fall of the Berlin Wall. Red flags
are flying about the Royal Palace. The “nomenklatura” are dressed
in elegant attire of the '50s, accompanied by soldiers of the National
Peoples’ Army. Siegfried, Brünnhilde and the Norns, on the other hand,
are shabbily dressed. The Norns live in an attic filled with broken
furniture from the 1930s and the 1940s (an allusion to the defunct
Albeit attractive, the Rhinemaidens appear poverty-striken,
swimming in a polluted Rhine. As in many of Carsen’s production, politics
is mixed with a fair amount of sex. At daybreak, Brünnhilde begins her
passionate love duet by performing oral sex upon Siegfried. Hagen makes love to
Gutrune on Gunther’s royal desk (in the presence of her brother and
King). In the wife-swapping scene at the end of the first act, Siegfried
(disguised as Gunther) attempts to rape Brünnhilde before remembering his pact
with the King. The second-act wedding party initially appears as an orgy with
rivers of wine and spirits and ladies taking off their clothes.
In a similar
vein, the Rheinmaidens grope Siegfried all about his trousers. All of this heightens the coup-de-théâtre in the final scene. Brünnhilde is alone
on stage during the holocaust, the fire of the Royal Palace, the downfall of
the Gods and the flood of the river (cleansing corrupted Gods and corrupted
men-in-power). During the concluding passages, a huge waterfall covers the
stage. In short, although the concept goes back to the 70s, there are numerous
innovations in this Ring and this Götterdämmerung in
Although British, Jeffrey Tate possesses an Italian or Austrian conducting
style. He caresses the orchestra with gently slowing tempi. This clashes,
however, with the dramatic action-oriented stage direction. La Fenice’s
orchestra fares well; but it is not that of the Maggio Musicale Fiorentino
(which performed Götterdämmerung a few weeks ago) or of the Berliner
Philarmoniker (which will perform Götterdämmerung in Aix en Provence
in early July). Jayne Casselman was simply excellent, both vocally and
dramatically, as a vibrant Brünnhilde to be remembered for some time. Her
Siegfried, Stefan Vinke, performed well in the taxing third act; but in the
previous two acts he displayed vocal problems (especially with the Cs) and a
host of technical difficulties. He paled against Lance Taylor who performed the
role in the recent Florence production. A sexy Nicola Beller Carbone was a
vocally imposing Gutrune. And, the youthful Gabriel Suovane and Gidon Saks were
two well-rounded bass baritones, whom, I trust, we will hear often in the