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Matthias Goerne and Menahem Pressler at the Wigmore Hall, London, an intriguing recital on many levels. Goerne programmes are always imaginative, bringing out new perspectives, enhancing our appreciation of the depth and intelligence that makes Lieder such a rewarding experience. Menahem Pressler is extremely experienced as a soloist and chamber musician, but hasn't really ventured into song to the extent that other pianists, like Brendel, Eschenbach or Richter, for starters. He's not the first name that springs to mind as Lieder accompanist. Therein lay the pleasure !
It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.
30 Aug 2009
Manon Lescaut at the Festival Puccini di Torre del Lago
Each year, the tiny Tuscan village Torre del Lago hosts a festival dedicated to its favorite son, Giacomo Puccini. This year’s Puccini Festival (10 July - 30 August) featured a “new” Manon Lescaut (a co-production with Opera del Nice Theater), its premiere garnering standing ovations for Marcello Giordani and Martina Serafin and accolades for Alberto Veronesi, the artistic director of the Festival.
What set this production apart was the inclusion of a prelude to Act II that had been part of an earlier draft of the work, along with a scene of the two lovers living happily in Paris. Aside from being too similar to Massenet’s Manon (‘adieu à la petite table’), Puccini cut the scene to move directly from the lovers’ flight from Amiens to Geronte’s mansion where Manon, having abandoned the penniless des Grieux, luxuriated as Geronte’s mistress. The fully orchestrated prelude had gone unperformed until Chailly’s 1984 recording of rarely performed works (a recording that is currently difficult to find). With this production, Maestro Veronesi performed the prelude as an integral part of the entire work.
Martina Serafin as Manon
A minuet in form, the prelude, rife with melancholy, evoked the flame of the lovers’ intense, but short-lived affair. More importantly, the prelude evidenced Puccini’s mastering of 20th century musical theater that incorporated Wagner’s rich symphonic approach and anticipated Janáček’s use of repetitive fragments (“interruption motifs”) and of his orchestration, often with programmatic origins, “capable of great sweetness [yet with] a roughness caused by the unblended layers of orchestra and by the seemingly unidiomatic writing in individual parts.” [John Tyrrell, “Janáček, Leoš [Leo Eugen],” Grove Music Online]
Guided by Maestro Veronesi, the Puccini Festival Orchestra has matured significantly over the past five years. In this production of Manon Lescaut, the orchestra traversed the difficult score masterfully, both in supporting the singers (à la Verdi) and in performing program music (such as the intermezzo between Act II and Act III) with aplomb. It was difficult, however, to appreciate all of the orchestra’s subtleties in the upper rows of the 3,500-seat open air auditorium.
Passion, even carnal passion, paradoxically devoid of erotic love and desire, inspired Verdian melodrama. Manon Lescaut, on the other hand, returned erotic expression as a central element of Italian opera. The erotic aspects of Manon Lescaut are expressed with increasing intensity by the two principals, Manon and des Grieux, from the youthful aria “Donna non vidi mai” (Act I), to the duet “Tu, tu amore tu” (Act II), to the aria “No! no!, pazzo son” (Act III), to the desperate “Sola, perduta, abbandonata” (Act IV). Marcello Giordani and Martina Serafin executed these roles with perfection. Giordani’s wide register and power filled the auditorium, recalling the finest of performances by Domingo in the mid-1980s. Serafin, mostly noted for her performances of Wagner and Strauss, added a Wagnerian touch to “Sola, perduta, abbandonata” that aligned well with Veronesi’s conducting, her performance of the role being closer to that of Renata Scotto rather than that of the more lyrical Mirella Freni. Comprimario roles — Lescaut (Giovanni Guagliardo), Edmondo (Cristian Olivieri), Geronte (Alessandro Guerzoni) — were adequate, yet overwhelmed by Giordani and Serafin.
Martina Serafin as Manon and Marcello Giordani as des Grieux
Significant weaknesses of this production arose from the contributions of Paul-Emile Fourny (director) and Poppi Ranchetti (sets). Little attention was paid to the singers’ acting . And the staging included a crowd of mimes (ostensibly naked) and dancers, the relevance of which remained unclear. The set transformed from a Renaissance ninfeo by Bramante (a 15th century architect) to a villa near Rome that deteriorated in appearance from one act to another (seemingly intended to mirror the degradation of Manon and des Grieux), all having a bewildering effect.