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A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
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.
20 Sep 2009
Humour and horror — Ligeti's Le Grand Macabre at the ENO, London
A massive female figure fills the whole stage at the ENO for Ligeti's Le Grand Macabre, in this amazing production from La Fura del Bas. (Alex Ollé). This production is so inherently dramatic that it brings Ligeti's "anti-opera" onto a new level as theatre.art. .
The giant woman is a miracle of motors and pulleys, engineering transfigured as art. She’s obviously not alive, but she moves, following the action. She takes on whatever is projected onto her, changing with light from woman to man, aging, decaying, turning into a skull. She’s solid enough to support actors crawling over her yet seems to disappear into starlight or clouds when the lighting’s right. Her body opens to reveal secret caverns. She’s so wonderful, you’re mesmerized.
“A dress rehearsal for the end of the world” wrote Michel de Ghelderode whose original play inspired Ligeti’s “anti-opera”. Le Grand Macabre is an apocalyptic vision after Heironymous Bosch, Theatre of the Absurd at its most picaresque. Nothing is supposed to make sense, all logic overturned. So lovers Amando and Amanda (Frances Bourne and Rebecca Bottone, both women) wear their muscles outside their skin. Nekrotzar, note the nameplay, (Pavlo Hunka) is the all powerful figure of Death, who rides a plastic bubble horse while wielding a scythe.
Rebecca Bottone (Amanda) and Frances Bourne (Amando)
There’s lots of action, for this is Breughelland, teeming with busy figures. Venus (Susanna Andersson) slides down from the ceiling, and later appears as singing stormtrooper. Lots of deliberately unerotic sexual shennanigans - Astramodars (Frode Olsen) and his wife Mescalina (Susan Bickley), she of the conical size ZZ bra cups. The Black Minister (Simon Butteries) and The White Minister (Daniel Norman) exchange playground obscenities in alphabetical order. Piet the Pot ((Wolfgang Ablinger-Sperrhacke) is a down to earth drunk. Prince Go-Go (Andrew Watts, the countertenor) portrays a sad Elvis impersonator, his naivety no match for the evil plotters around him. There’s even a recreation of Michael Jackson’s *Thriller *dance routine to keep the chorus and actors on their toes.
It’s wildly madcap, lots of fun if taken on its own terms. Judging by the laughter most of this audience got the right mood. But the difficulty with Le Grand Macabre, is that it’s not easy to marry humour with horror. Some of Ligeti’s jokes are pretty asinine anyway, without the saving grace of shock, but there’s a lot more darkness and despair in his music than this production dwells on. On the other hand, human nature being what it is chooses levity over grim surreality .
In the Second Act, where Ligeti writes longer musical passages without narrative, Baldur Brönimann got reasonably idiomatic playing from the orchestra. Nonetheless this isn’t Ligeti at his most subtle, and most of the audience were there for the show not the music. Since this production had so much going for it that its sheer inventive energy was compensation for the relative lack of musical bite. Nothing to scare away Those Who Fear New Music. This production was so impressive that it will stick in the memory . For once, it will be good to listen to a recording (ideally Salonen) allowing La Fura del Bas’s incredible images come to life again in your imagination. You can hear the music again, but you’ll never see another production quite like this !
Andrew Watts (Prince Go-Go), Wolfgang Ablinger - Sperrhacke (Piet the Pot), Pavlo Hunka (Nekrotzar) and Frode Olsen (Astradamors)
Yet ultimately, Le Grand Macabre isn’t all that macabre. Death is overturned. Prince Go-Go is arrested because he isn’t dead. Piet, Astromodars and Mescalina, return to life and carry on as before. Nekrotzar is defeated and doesn’t come back. Instead he’s replaced by a shrunken puppet, inside the giant woman’s stomach. Then the giant’s features bloom again, colour returning to her cheeks, and she smiles. She’s remarkably realistic now, so it’s quite frightening seeing her eyeball to eyeball if you’re sitting upstairs. The giant woman’s face came from a film at the very beginning, where a sad, lonely woman seemed to be dying of a heart attack. She doesn’t die, but such a shambles of an existence is hardly life. It was uncomfortable seeing her “dead” body subject to indignities, but seeing the real actress who plays her in the film taking applause later wasn’t reassuring. Which is perhaps the point - we can’t assume everything’s back to normal, whatever normal “is”.
Ligeti’s Le Grand Macabre runs at the ENO until October 9th.