Recently in Reviews
Verdi Un ballo in maschera at the Royal Opera House - a masked ball in every sense, where nothing is quite what it seems. On the surface, this new production appears quaint and undemanding. It uses painted flats, for example, pulled back and forth across, as in toy theatre. The scenes painted on them are vaguely generic, depicting neither Boston nor Stockholm, where the tale supposedly takes place. Instead, we focus on Verdi, and on theatre practices of the past. In other words, opera as the art of illusion, not an attempt to replicate reality. Take this production too literally and you'll miss the wit and intelligence behind it.
Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.
Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.
For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.
O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.
Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.
On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.
John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.
Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.
After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
second city of Novi Sad on 27th October would be transplanted from
6th century BC Babylon to post-Saddam Hussein Tikrit or some
bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
21 Jun 2009
Madam Butterfly - English National Opera, London Coliseum
Following the death of the American film director Anthony Minghella, ENO were left with a gap in the season vacated by the new production which he had been engaged to direct, and what better way to do so than by bringing back his immensely popular 2005 staging of Madam Butterfly? Minghella’s widow, Carolyn Choa (who has worked on the production from its original conception) was charged with resurrecting the production in tribute.
And a worthy tribute it is. This season’s cast is easily the strongest that Minghella’s staging has yet enjoyed here at the Coliseum (it’s a co-production with the Met, and the Lithuanian National Opera). Judith Howarth returned to the title role from the last revival, with a portrayal that has grown in stature since the last time. Her fullish lyric soprano remains a touch on the light side, but gives a real sense of being at one with the orchestra, and picks out the delicacy of the dialogues with Pinkerton and Suzuki; she draws the character with just the right balance of strength and vulnerability.
The two men, both appropriately imported from the USA, are new to both the production and the company; Brian Mulligan’s Sharpless is particularly worthy of praise, acting with skilled subtlety such that every inner thought came across. Bryan Hymel sings Pinkerton in a strong, clear tenor; if his phrasing is rather linear and matter-of-fact it only serves to add to the superficiality of the character.
In fact, the whole staging serves to highlight Pinkerton’s superficiality, or rather the superficiality which he ascribes to Nagasaki and its inhabitants. The drama unfolds in a world of heightened, fantastical colours, the vibrant hues of Han Feng’s costume designs contrasting with the shiny black letter-box of a set, evoking the curiously chaste exoticism which so fascinates Pinkerton. Two of Blind Summit Theatre’s brilliant bunraku puppets act as Suzuki’s co-servants, introduced by Goro in Act 1 while Pinkerton is cooing over the novelty value of his new marital home; it is quite clear before he even states it overtly that Cio-Cio-San stands no chance of being treated as a ‘real’ wife. The most fully characterised of the puppets is that used for Butterfly’s young son, the intricacy of its movements almost bringing the child to life - but retaining that layer of artificiality which underlines that even Sharpless to some extent doesn’t have a full understanding of the Japanese as human equals. The orchestral prelude to the final scene features a dream sequence in which a puppet Cio-Cio-San is reunited in a pas de deux with a human Pinkerton; a realisation of a deeply held wish on Butterfly’s part, but at the same time almost an acceptance on her part of his perception that the two belong to separate worlds.
Ultimately, this approach results in a degree of emotional frustration for the audience; somehow I want Pinkerton to be jolted too late into recognising Butterfly for the person she is. I yearn for a sudden gear-change into ugly realism at the end; for Butterfly’s suicide to be graphic and literal. Instead, the blood flowing from her body is unfurled in red silk by balletic extras. It all makes a consistent point; Pinkerton is going back to his convenient, socially-sanitised American existence, and perhaps he never will truly grasp the magnitude of what he has done to his first wife back in Nagasaki.
Judith Howarth as Madam Butterfly, Christine Rice as Suzuki and Bryan Hymel as F. B. Pinkerton
If there is a shortage of raw emotion on stage, there is an abundance of it in the pit. Edward Gardner, fresh from his revelatory Peter Grimes, gives a blazingly passionate account of the score, unequalled in my memory - and the chorus have rarely sounded better, either; the humming chorus was firm in intonation and ethereal of timbre. The supporting cast is exceptional, particularly Christine Rice’s Suzuki and Michael Colvin’s Goro.
Ruth Elleson © 2009