29 Jun 2009
Un ballo in maschera at Royal Opera House
On the whole, I’d prefer the conspirators to be sitting on toilets
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On the whole, I’d prefer the conspirators to be sitting on toilets
No, really, ENO’s ‘controversial’ production of 2002 may have jarred with traditionalists but in many ways it made better sense than this revival of Mario Martone’s 2005 production. Martone is also a film director (cue groans from those who hated Kiarostami’s ‘Così’) and the opera is conceived as a series of tableaux, from the staid to the spectacular, but without much in the way of personenregie. The original production could boast of Mattila, Hampson and Álvarez in the leading roles, but for this revival the ROH have cast a house debutant soprano, the Chilean Angela Marambio, the Slovakian baritone Dalibor Jenis, and Ramón Vargas, and of the three it is only the tenor who produces a genuinely Verdian sound.
Anna Christy as Oscar and Ramón Vargas as Riccardo
I have to declare a preference for the Danish setting, with the venial King Gustavus biting the dust at the ball — it simply makes more sense to me, all the ‘American’ references in the Boston version sounding daft to my ears, and exactly which Massachusetts ‘castello’ did Riccardo appropriate from his enemy? Of course I’m aware of all the censorship shenanigans, but the story is quite ludicrous enough without adding on any extras. He loves her, but he has preserved her honour? Oh please. Renato entirely fails to recognize his own wife just because she dons a veil? Give me a break. These absurdities can of course be negated in a production which focuses on gripping the emotions and making sense of the politics, but this wasn’t it.
Dalibor Jenis as Renato
Ramón Vargas is yet another of those tenors once tipped to be one of the ‘new Three Tenors’ (groan) but he has survived this nonsense and is actually a fine musician, with a fairly light, flexible voice which he uses with taste and discretion — he lacks the big bow-wow effect beloved of many admirers of this repertoire, but there is no shortage of italianità in the singing, even though ‘Di tu se fedele’ was a little breathy and ‘O qual soave’ was rather thin on passion — that however was not exactly his fault. He did his level best to make something of the role, not exactly helped by either the direction or the Amelia.
Not only do revivals always encourage comparison — and it’s unfortunate in this context that Mattila was such a sympathetic heroine last time around — but they can also suffer from lack of work on the interactions between the principals, something which especially affected Angela Marambio, whose Amelia could blossom if she were able to actually do something on stage other than emote. Her best singing came in ‘Morrò, ma prima in grazia’ where stand and deliver is allowable, but in the Act II duet and at the death scene, she was sorely in need of some direction.
Angela Marambio as Amelia and Elena Manistina as Ulrica
Dalibor Jenis has an imposing voice and stage presence, and he was often convincing as Renato, although I’m sure he would not be regarded as a genuine Verdi baritone by most aficionados of the breed. ‘Eri tu’ was however grippingly sung, in one of the few believable scenes of the evening. Elena Manistina was a sinister Ulrica, her cries about communing with Satan not once eliciting a chuckle from me — and that’s praise, by the way. Oscar is one of opera’s most irritating parts, but Anna Christy succeeded in not making me wince more than a couple of times — again, a compliment.
Orchestrally things were slow — very slow — although there was plenty of light and shade in Maurizio Benini’s conducting. In terms of the production, who would not love Sergio Tramonti’s wonderful design for the ball scene, with its framed image and brilliant use of mirrors? The only problem was that some of the characters did not quite seem to know what to do with themselves, even as their beloved ‘Governor’ was breathing his last. I liked Ulrica’s bear pit and the Act II gallows, although I imagine the latter was a trial for those who had to walk around in it. The other scenes were deeply conventional, as of course was the feel of the whole evening.
Angela Marambio as Amelia and Ramón Vargas as Riccardo
This ‘Ballo’ comes after a starry ‘Traviata’ and before an equally name-laden ‘Barbiere’ so in a way it’s a kind of breathing space, and if you like your Verdi without too many directorial surprises and your singing and acting styles traditional, you’ll be pleased with this production — first night wobbles must have taken the edge off some of the phrasing, and I’m sure that later performances will find all three principals much more settled in.