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Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
02 Aug 2009
Verdi: La Forza del Destino
This looks like a winner, with an esteemed conductor (Zubin Mehta), top-rank cast (Violeta Urmana, Marcello Giordani, Carlo Guelfi), and a production directed by Nicholas Joël that originated at the Opernhaus Zürich, a house that takes some chances and scores some successes.
But the beauty expected doesn’t even go skin deep. While Verdi’s great score keeps La Forza del Destino in the standard repertory, the problematic libretto requires both sharp intelligence and inspired imagination. Sure, one can go back to the classic video with Tebaldi and Corelli, where the fabric of the cheap sets ripples every time a character brushes past. At least their singing mesmerizes, distracting the 21st century viewer from the 19th century production values. Despite the quality of the performers here, that magic act does not repeat itself.
To be fair to Nicholas Joël, the booklet credits state that the production was “restaged by Timo Schlüssel.” All that matters is that the result of the men’s work feels like an elaborately costumed concert performance. The chorus stand in blocks or move in unison. The actors usually occupy a small space near the front of the stage and seldom interact convincingly. The costumes of Franca Squarciapino, while well-made, all seem to have come straight from the cleaner’s. Even after a battle-scene the two Dons look immaculate. Ezio Frigerio’s sets barely distinguish between the opera’s varied settings, with the final scene being the lamest. Leonora’s mountain hideaway is simply a barred cage, like one would see at some dreadful old-time zoo. Working in such forlorn circumstances, even the most vibrant of performers would struggle. As commendable as their vocal efforts may be, these singers need more direction to be effective. Violeta Urmana is a very healthy Leonora, with that pitiful loaf of bread for her meal apparently having a substantial carbo load. Perhaps needless to say, the effort to make her convincing as a male produces laughable results. But close the eyes and the ears will hear a substantial voice that can meet all of the challenging role’s demands, often with attractive power. Carlo Guelfi delivers a “shades of black” interpretation of Don Carlo, Leonora’s vengeful brother, but again, he delivers the goods vocally.
Marcello Giordani comes across as more committed to portraying a character, and his Don Alvaro does have both nobility, pride, and the requisite fatalism. As is typical with this busy singer, the middle voice sounds as good as any tenor today, but the top range is variable - sometimes ringing out as tenor fans love, and other times turning hoarse, constricted. Julia Gertseva’s Preziosilla can be counted a success in so far as the character is not nearly as annoying as she can be. Roberto Scandiuzzi’s Padre Guardino and Bruno De Simone’s Fra Melitone fade into the grayness of the production’s dim inspiration.
Zubin Mehta doesn’t try to prettify the score, letting its occasionally crass martial music roar away. The singers are always well-supported, and the forces of the Maggio Musicale Fiorentino, where this performance took place in 2007 (TDK doesn’t give any more time information), play idiomatically.
And to get really picky, TDK could do a better job of graphically identifying which of the two discs is which, as they have identical faces except for very tiny lettering with the disc number tucked away under the copyright. Go for the Tebaldi/Corelli, if it can be found.