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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.
Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim
) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.
15 Jun 2009
Haydn’s Bicentenary : 20 Capitals Salute “The Creation” With Standing Ovations
The Austrian Ministry of Culture and the Committee for the Celebrations of
Haydn’s Bicentenary had a brilliant idea: on May 31st , the day of the
composer’s death, 20 symphony orchestras and/or opera houses performed
one of his greatest and best known oratorios Die Schöpfung (The
Because of different time-zones, Die Schöpfung day started
in New Zealand and ended in Honolulu. An earnest radio listener could enjoy the
different performances over 24 hours and appreciate the difference in
conducting as well as in singing. Opera houses were included because in certain
countries (e.g. Germany) Die Schöpfung is also staged as a music
drama: computer technology and animation are a superb support to show the
initial chaos , the creation of the animals, of the flowers, of the lakes, of
the rivers and of the mountain as well as the Eden garden with the passionate
Adam and Eve duet.
In Rome, the Orchestra Sinfonica - Fondazione Roma (OsFr) was selected for
the task. The OsFr is a peculiarity in the Italian musical landscape: it is the
only fully private symphony orchestra. It does not receive any State,
Regional., Provincial or Municipal support but it is financed by the Fondazione
Roma ( a nonprofit foundation) and by a few companies. It has 90 permanent
elements (average age: 30), a budget which is less than one-fifth of that of
the main symphony orchestra in the Italian capital (l’Accademia Nazionale
di Santa Cecilia) and a low- priced ticket policy to attract young and old
people with modest income (season tickets for 30 concerts vary from € 260
to € 90 according to the category). Its music director and permanent
conductor is Maestro Francesco La Vecchia, who is also principal guest
conductor of the Berliner Symphoniker. La Vecchia has been music director of
Opera Houses and symphony orchestras in Central Europe (Budapest), Latin
America (Rio de Janeiro) and Portugal (Lisbon). The OsFr started some eight
years ago after a EU-supported training program for young graduates from
European conservatories. It has gained an important place in the international
music scenes also due to its tournée in Germany, Poland and China.
In January, the Accademia di Santa Cecilia had offered a different version
of Die Schöpfung — performed by Frieburger Barochester conducted
by René Jacobs and with Julia Kleiter, Donat Havar and Johanner Weisser as
soloists. The difference, of course, is not in the score (both Jacobs and La
Vecchia conducted the full score without cuts or intermission) but in the
style: dry, albeit almost religious, Jacobs’; passionate (even in the
approach to religion) La Vecchia’s .
Die Schöpfung is well known. Thus, there is no need to provide
Opera Today readers with background on its composition, on its Austrian and
London premières and on its contents. Its three parts are operatic acts. In the
first and in the second, the three archangels Gabriel, Uriel and Raphael
observe the Creation by following very closely the biblical text. In the third
act, we are no longer witnessing from a distance the works of the Creator. The
scene is the Eden Garden. After an introduction of Uriel, the act is long love
scene of Adam and Eve that includes a duet supported by a choral background. As
Haydn planned, there are five characters but three singers: the bass and the
soprano are Raphael and Gabriel in the first and second act but become Adam and
Eve in the third act. The roles are taxing both for the duration (nearly two
hours of music ) and for the “virtuoso” singing — they imply
“coloratura”, “agility”, quite a few high Cs and many
Maestro La Vecchia recalls that in 1992 he had conducted Die
Schöpfung in the Amazonian Forest, at the vey confluence of the Rio Branco
with the Rio Petro. Over 10,000 Indios attended the performance thrilled by the
Haydn’s score. Most likely, the memory of that performance influenced
conducting on May 31st. In the first part, it is noteworthy how conductor,
orchestra and singers amplified the transition from the chaos (C minor) to the
newly lit world (A major) . In the second act, the emphasis is on the
descriptive imagery as in the portrayal of the animals: the cheerful, but rude,
trombone blast of the lion, the pouncing tiger, the placing grazing of cattle,
the sinuous music for the worm. The third act is less contemplative than
normally performed: the love between Adam and Eve is powerful, not merely
platonic; their duet is rapturous and timeless, an essential transition to the
glorious final chorus.
La Vecchia and the symphony orchestra had three excellent singers to work
with. Anita Selvaggio is a “soprano assoluto” better known outside
Italy than in her own country. Both as an archangel and as Eve she displayed a a remarkable flexibility in the upper extension and an extraordinary use of
messa di voce (a quality that many sopranos seem neither to care for
nor to practice enough). Michael Smallwood is an up-and-coming Australian tenor
with a delicate sensuous “legato”. David Wilson Johson is the best
known of the three soloists. He once again confirmed his talent and
Giuseppe Pennisi (Based On May 31st Rome Symphony Orchestra Performance)