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Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
03 Jul 2009
Porgy and Bess in San Francisco
For Americans of older generations Porgy and Bess is surely a primal experience, formed by the 1959 Otto Preminger film with Sammy Davis Jr. as Sportin’ Life, the audio recording derived from the 1952 London production with Leontyne Price as Bess, and a first encounter with Porgy and Bess as an opera in the artistically satisfying, and well traveled 1976 Houston production (was it twenty-five performances in the War Memorial Opera House?).
Maybe even some Americans were lucky enough to see the 1986 Glyndebourne production or its 1993 televised version, fabled as the best Porgy ever. Thus, with some help from its several Broadway-type attempts, the Gershwin Porgy has become a sing-along — we know every word and every note.
The San Francisco performances are a reprise of the 2005 Washington Opera production directed by Francesca Zambello, a production that has recently stopped off at the operas of Los Angeles and Chicago as well. Ms. Zambello is a noted director of large-scale opera, the Ring currently underway at the San Francisco and Washington operas, and War and Peace at the Seattle and Metropolitan operas, Billy Budd at Covent Garden as examples.
Mounting a Porgy is no small task, it has a huge cast, nine principal singers, sixteen named and solo roles that derive from an ensemble in San Francisco of forty-six [!] Black singers, not to mention three White speaking roles. Three (or more) fight scenes must be staged, plus three (or more) production numbers must be choreographed. It is scored for a full symphony orchestra that wails with the sonic abandon of big band. Can Porgy be crushed under its own weight?
The answer is an emphatic yes! Putting Porgy in the charge of a big time opera director, albeit a theatrically and operatically savvy one, magnified its weight, as did the absolute top operatic quality of its protagonists and ensemble singers (do not say chorus) placed in the hands of John DeMain, the world’s most experienced Porgy conductor. And all this thrust onto a major American opera stage where it is in de facto competition with the sophisticated operas of Benjamin Britten (maybe its closest foreign relative), not to mention the verismo of Puccini.
The end result of all this operatic know how simply lays bare the weaknesses of this Gershwin masterpiece. It does not know if it is an opera of sorts or a Broadway musical, and there is simply too much of it. Its original four hours were mercifully reduced to three hours fifteen minutes in this production, however its original two intermissions were reduced to one, making each of the two parts nearly an hour and a half. One might have preferred the longer version, but in three parts, i.e. a second pit stop. It was a long haul.
Chauncey Packer (Sportin’ Life) [Photo by Cory Weaver courtesy of San Francisco Opera]
The decision to unify its disparate stories and elements within the confines of a single unit set was a laudable, theatrically valid solution to objectify Gershwin’s well crafted dramatic structure, but it also brought visual boredom. The intimacy needed to make small scale, essentially jazz based vocals real was lost in the vast spaces of the omnipresent two level Catfish Row with a monumental warehouse door stage left (Jake’s fishing boat was pushed in and out from here as was the interior of Porgy’s hovel). Several extraordinary moments though stand out in this generally solid staging, the Kittiwah Island departure as one example, the hurricane, and particularly the moment when Bess, high on heroin is seduced by Sportin’ Life.
Strangely moving was the sense that Gershwin’s Blacks, the 1930’s Blacks, have become not only mainstream American culture but are fully realized performers of international musical arts, led in opera by some of our greatest Porgy interpreters, like Willard White (the Glyndebourne Porgy) and a host of others. The cast for the San Francisco production gave convincing if not definitive performances, led by the Porgy of baritone Eric Owens who bestowed elegant phrasing onto Gershwin’s lines. Laquita Mitchell gave a moving and real performance, vocally and physically, as Bess. Once past mourning Sammy Davis, Jr., Chauncey Packer delivered the goods as Sportin’ Life. We wanted more physical and sexual charisma from the Crown played by Lester Lynch, and in general more distinct personalities from the other principal singers as well.
The underpinnings of Porgy are humble. It is an intimate, uncomplicated story of love and lust in an ambience of poverty well known to operatic verismo, though in Porgy there are no issues, no complaint of injustice, no philosophic formulation of fate, and finally only desperate hope. It can be and is everyone’s story at distinct moments in human history. The challenge is to create an atmosphere for this humility in what is, pure and simple, an extravagant art form, and it was here that this production failed.
The copyright for this American operatic masterpiece (who cares if it has short comings, and is not really stage worthy, at least in this version) expires in 2012. The iron fist exercised by the Gershwin family over its productions will relax, the stiff royalty fees will no longer inhibit production, the insistence that its actors be black and that its locales be specific will no longer hold. Producers will be able to experiment with making this document of main-stream American culture (hardly Black-American culture) into viable theater.
Click here for a photo gallery of this production.