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Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
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