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The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
24 Jun 2009
La Traviata in San Francisco
Much ink has been spilled over the failed Marta Domingo production of La
Traviata that San Francisco Opera inexplicably imported for its blatantly
audience baiting summer season (Traviata, Tosca, Porgy and Bess).
the critical intention of finding the positive and ignoring the well publicized
negatives of the production endured only through the first act (overheard
intermission comments “she seems very organized,” “I’ve
The second act, a Verdi masterpiece, was rendered nonsensical, the
storytelling eviscerated — Violetta flippant, Germont deadly cold,
Alfredo happen chance. Flora’s party was the occasion of an extended
ballet of the sort that makes audiences laugh. Violetta’s death was
enacted in the heavens, possibly a reference, maladroit, to the Eurydice
Charles Castronovo as Alfredo [Photo by Terrence McCarthy courtesy of San Francisco Opera]
If there was ever any theatrical integrity to this production it had
evaporated in this strange encounter of Russian soprano Anna Netrebko, a superb
singer and a very particular artist, with the wife of Placido Domingo. Clearly
there was no connection between the emotional immediacy projected by Mme.
Netrebko, her dramatic delivery of text that was high Monteverdi in its
directness and intensity, and the stylized, content-less staging perpetrated by
Mme. Netrebko was in fine form for the June nineteenth performance, the
third of her five performances (Elizabeth Futral takes a further three
performances, Ailyn Perez one more). Her voice filled the theater with an
unusual volume and richness, pitch precision sometimes subjugated to
declamation in infinite tonal and rhythmic colorations. It may be noted that
she did not take the ‘Sempre libera’ high E-flat, nor did she open
the traditional cuts in ‘Ah, fors’é lui’ or her ‘Addio
Mme. Netrebko nearly met her match in American tenor Charles Castronovo who
brought urgency, voluptuously sculpted text delivery, beauty of tone and a
handsome stage presence to this Verdi tenor, though like all of them
Dwayne Croft (Giorgio Germont) and Anna Netrebko (Violetta Valéry) [Photo by Cory Weaver courtesy of San Francisco Opera]
Dwayne Croft, père Germont, possesses a fine instrument that he uses with
great care, and with commendable musicality. Though naturally commanding his
stage presence and musicianship paled in his confrontations with Violetta and
his son when it needed the immediacy and authority to confuse their youthful
Reveling in this charged musicality erupting from the stage conductor Donald
Runicles melted into a rapport with the stage that is all too rare in opera,
and when it occurs sublime music is sometimes heard. Mo. Runnicles’
mannered tempi and phrasing were elaborated by those mannerisms of his not
particularly Italianate soprano and tenor, and tempered by the stylistic
cleanliness and musical purity of his baritone. Finally the weeping minor
seconds of Violetta’s death rang incisively, with a final agogic
[a slight withholding of the beat] choke from the throbbing violins —
representative of the Runnicles mannerism catalogue.
Anna Netrebko (Violetta Valéry) and Dale Travis (Baron Douphol) [Photo by Cory Weaver courtesy of San Francisco Opera]
It could have been thrilling indeed, this death, had the stage moved in
concert with the Verdi poetic. Mme. Domingo imposed the forms of the roaring
twenties, a metaphor that does not seem to match the atmospheres of this
mid-nineteenth century morality play, perhaps because art nouveau lines are
overwhelmingly sensual, and flashing, reflective surfaces too sexually
forceful. Finally La Traviata is a simple story of family life that
easily disappears in fanciful images (three ballerinas floated onto the stage
to drape Violetta in a bridal gown during the death scene, as one of many
As this review is for Opera Today and not the Harvard Business
Review the focus is on the art of opera, not the art of business. Perhaps
an evaluation of the business of opera as reflected in this Traviata
and last week’s Tosca would validate some of the artistic
choices, and one hopes, result in more positive terms. Otherwise there can be
no point to San Francisco Opera’s summer season.