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It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.
Based on a play, Chrysomania (The Passion for Money), by
the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.
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.