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Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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.