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A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
02 Aug 2009
Donizetti: Lucrezia Borgia
Of Donizetti's 55 operas, four to five hold on to secure places in the repertory, a much greater number are all but unknown, and in the middle come the titles that see occasional revivals, as flawed but fascinating rarities.
Lucrezia Borgia belongs to that latter group, and it might well have earned a place alongside Lucia and L’Elisir if Donizetti had been able to take more time in its composition (the booklet essay relates how the first rehearsals came only a week after Felice Romani had delivered the libretto to the composer!). Some of the music is uninspired, if professional, and the score’s most memorable numbers go to a relatively minor character (Orsini, a pants role for mezzo). The story itself may be fraudulent history, but it puts on stage an intriguing group of characters quite different from the formulaic romantic contraptions of many other mid-19th century operas.
Donizetti and Romani’s Lucrezia follows the historic portrait of a power-hungry woman who finds poison a useful way to protect and further her position. But she is also a loving mother, although she had to give the son she loves, Gennaro, over to an orphanage at an early age. Gennaro hates the Borgias, and his activities eventually draw a death sentence from Lucrezia’s husband, the Duke. She manages to save her son’s life once, but at the end of the opera she unwittingly poisons him (along with several others she quite wittingly intended to kill), and he refuses her antidote, dying in her arms after they have both sung at some length over the tragic turn of events.
The production Naxos presents originated at the Bergamo Musica Festival, in a recording compiled from November 30th and December 2nd 2007 performances. Angelo Sala’s set design employs stone columns and stairs, leaving most of the stage bare for appropriate props. More budget seems to have gone to Cristina Aceti’s costumes, of a traditional opulence. Lighting designer Valerio Alfieri casts much of the action in shadow and sickly blue light. It all adds up to a fairly conventional staging, but director Francesco Belloto has a good way with the singers, eliciting detailed reactions from not only the leads but from the entire cast, including chorus.
Dimitra Theodossiou, the Lucrezia, either hasn’t sought or hasn’t received many offers to perform in the U.S., but many a stateside opera fan would find her impressive. Not a conventionally beautiful woman, she has an old-time presence, self-contained , even regal. Without trying to judge the size of her voice from a recording, her soprano has that penetrating edge to it that usually carries well. The top can get steely, but she definitely has the notes. And when Donizetti wants the voice to move as nimbly as Lucrezia’s calculating mind does, Theodossiou doesn’t struggle a bit.
While acceptable, Roberto De Biasio’s Gennaro is not on her level. Before he warms up the intonation is not secure, and even once he is in control, the voice itself has little that is attractive about it. Enrico Giuseppe Iori makes for an impressively threatening Duke, and Nidia Palacios does well by the enjoyable music for Orsini. Efficient support comes from conductor Tiziano Severini and the Bergamo forces.
There are no extras on the Naxos disc. Paul Campion’s booklet essay is concise and informative, and there’s a helpful synopsis tied to the track listings, as well as the artist’s biographies. Anyone curious about this Donizetti opera should give this a look and listen.