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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.
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.
02 Jul 2009
Carmen Triumphs (Again) at the Opéra Comique
Bizet’s famed heroine Carmen returned this June to the place where it all began, in a critically-heralded new production by Adrian Noble. Frank Cadenhead was on hand to experience the staging held at the opulent newly-renovated Opéra Comique.
At the Opéra Comique in Paris, the theater where it was first performed, Bizet’s Carmen has triumphed again. One of the most performed operas around the world, it has recorded nearly 3000 performances alone at the Comique. But a new production with a fresh perspective has given the old girl new life. Hugh Canning, of the Times of London, declares “Carmen has never sounded more revolutionary, romantic or thrillingly vibrant.”
Conductor John Eliot Gardiner brings along his polished Orchestre Révolutionnaire et Romantique to play on instruments which recreate the lost sound of the 19th Century orchestra. His Monteverdi Choir, with a discipline and artistic commitment not found in Parisian opera choruses, also showed a real sense of the theater. Stage director Adrian Noble, a former head of the Royal Shakespeare Theater, created an intense, elegant, cliché-free staging that tells the story with an engaging freshness. There has seldom been a director so committed to the details of this fatal confrontation and who could work with such talented singing actors. The single set easily becomes taverns and bullrings thanks to the lighting of Jean Kalman, who is, quite simply, the best in the business.
The fact that this opera is being performed in a theater with only 1255 seats certainly contributed to the more intimate reading. Most American audiences, for example, see this opera in theaters two or three times the size of the Comique. Carmen, usually a season filler, is a vehicle for stars to strut and orchestras, twice the size that would fit in the Comique pit, to swell and soar. Gardiner, however, conducts with a clarity and sure impulse that strips away the accumulated years of bombast. Among other details, the First Act duet between Don José and Micaêla finished with a quiet intensity and not with the shouting match one usually hears. He also restored several sections which are routinely cut, including a profoundly disturbing, almost Wagnerian bit of music when Carmen learns that the cards predict death.
The grand Italian soprano Anna Caterina Antonacci was in top form for this role. She has already recorded it at the Royal Opera in London on DVD but this effort is a different, more subtle reading, more in tune with Gardiner’s adherence to the storytelling art of Adrian Noble. As Don José, the talented American tenor Andrew Richards, fully recovered from an indisposition which caused him to miss an earlier performance, was able to give 100% for the performance on June 25, broadcast live to fifty theaters in France and Switzerland. That night was also recorded for later television broadcast and thus become a candidate for a DVD release. The gifted soprano Anne-Catherine Gillet, who sang the role of Micaêla, was quite fine, as was the Escamillo of Nicolas Cavallier. All of the second roles were played to perfection with a particularly lively children’s chorus, Maîtrise des Hauts-de-Seine, who actually, for the first time in my experience, sang intelligible French.
This latest acclaimed production, sold-out months ago, only adds to the stature of the house. Both English conductor John Eliot Gardiner and Italian mezzo Anna Caterina Antonacci have homes in Paris. It would not be difficult to imagine working with either of these two grand artists to present something compelling. Gardiner’s reading of Berlioz’ Les Troyens at the Theatre du Chatelet in 2002, available on DVD, revealed new color and detail plus Antonacci sang a Cassandre for the ages.
The Opéra Comique is one of Europe’s most elegant venues and a lively complimentary program, Les Rumeurs, is assembled around each new opera; in addition to concerts of Bizet’s music, the 1915 silent film with the same name and subject by the young Cecil B. DeMille was only another part of the festivities. The season opener this year, Purcell’s Dido and Aeneas, with conductor William Christie working with stage designer Deborah Warner, was thought by many to be the finest production in Paris this season. The theater’s recent efforts to reexamine the French repertory, scandalously neglected by the French since World War II, is clear in the next season announced recently. Operas by Messager, Grétry, Thomas, Berlioz (Béatrice et Bénédict) and Aperghis grace a schedule ending with Debussy’s Pelléas et Mélisande, again with Maestro Gardiner and his musical forces.
The new season can be previewed (in French) at www.opera-comique.com.
This review first appeared in Playbill on 1 July 2009. It is reprinted with permission of the author.