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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.
06 Sep 2009
Mahler and Ligeti at the Proms?
On the surface, the theme of this Prom seemed to be Sci Fi movies at the Proms. Both Ligeti's Atmosphères and Richard Strauss's Also sprach Zarathustra became huge hits when Stanley Kubrick used them in 2001 : A Space Odyssey. So how did Mahler's *Kindertotenlieder* fit in ?
The Gustav Mahler Jugendorchester certainly aren’t Mahler specialists. The name was chosen by Claudio Abbado when he set up his network of interrelated orchestras which have changed the face of European music. Although none of the performers are aged over 26, it’s not a youth orchestra in the usual sense. These players are carefully hand picked from thousands of applicants, and many go on to play in major orchestras.
Their Schoenberg’s Five Orchestral Pieces was lively and crisp and they did the spectacular moments in Also sprach Zarathustra to great effect. But the real test of an orchestra is how they handle the more subtle moments, rather than the big flashy passages like that striking entree to Zarathustra, which everyone knows from TV ads even if they don’t know Kubrick. The GMJO are very accomplished but there is only so much a musician can do at 20, compared to what he or she might do at, say, 45. So this wasn’t a performance of great interpretative depth, but something to enjoy for its sheer beauty.
Ligeti’s Atmosphères is an abstract soundscape. What seems like huge washes of white noise are created by extremes of detail, “microtonal polyphony”. The music moves in swathes of sound, the strings giving way to a surge of brass, each part played with slight variation. It’s the blend that creates the “atmosphere”. Hence the otherworldy sound of percussion brushes played against the strings of the piano : it’s music going boldly where no man has gone before. No wonder Kubrick heard it as “music from another planet”. Jonathan Nott’s soft focus sometimes underwhelms in other repertoire, but it’s perfect for this work, which is one of his specialities.
How would Mahler’s Kindertotenlieder fare in such a program and with an audience geared up for big movie themes ? The songs are about the death of children, and Ruckert’s poems are so personal that it’s almost painful to read them exposed on the printed page. Yet it’s a mistake to assume that such tragedy should lead to hyperfervid, overly operatic performance. Goerne’s approach was psychologically astute. The father in the poems is so numbed, he can only articulate his pain in brief moments : most of his grieving is inwards. This isn’t a time for histrionics.
Goerne’s approach is also musically astute. Kindertoitenlieder evolves like a miniature symphony. Like most of Mahler’s music, it moves towards a resolution, beyond immediate struggle towards some kind of transcendence. Dark into light. So the final song “In diesem Wetter, in diesem Braus”, starts with a storm. Significantly the storm clears into music of great delicacy and clarity. The dead children have gone into a better place where they will be cared for, “as in their mother’s house”. Miss this, and you miss so much of Mahler’s aesthetic. So “going into another place” isn’t really so far away from the rarified vision of Ligeti’s Atmosphères after all.
This Prom is available online on demand until 11 September on www.bbc.co.uk/proms both in audio and TV rebroadcast.