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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.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.