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Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
13 Oct 2009
‘10 for 10’ recital gets 10 out of 10 for performance and audience
The Wigmore Hall never stands still: not content with having increased its audience by 300% over the past year, it now seeks both to reward its loyal patrons for their support in acquiring the Lease, and to bring in new audience members, with an innovative series of ten concerts where all the seats are priced at £10.
The artists range from the stellar to the emergent, and if Saturday night’s recital is anything to go by, the standard is as high as the ‘usual’ Wigmore evening, but with the added excitement of a much younger audience demographic. Not that I object to an audience composed mainly of oldsters (that is, the 50-100s) such as myself, but it’s good to see a majority of the audience under 40 enjoying a finely balanced, deeply serious evening.
John Mark Ainsley has pretty much made a career out of being surprising: after all, this is an English tenor who never sounds ‘English’ in that dreaded Oxbridge sense; an elegant presence who never comes across as merely that; a Lieder specialist who hardly ever follows conventional ways with a song; and an opera singer who always provides a new and different perspective on a role. I have to admit that my heart sank on seeing the Heine ‘Schwanengesang’ settings as the central works, and grumbled that I would much prefer more Schumann (‘Dichterliebe’ for preference) since Ainsley is an especially sensitive interpreter of that composer, and anyway lyric tenors ought to leave the heavy stuff alone
and so on. However, I was wrong.
Howsoever you order them, the Heine settings are a demanding test for any singer, and Ainsley sang them with his customary subtlety and style, but was also able to produce impressive fortes in ‘Der Doppelgänger’ and ‘Der Atlas,’ the exposed, raw G at bar 34 in the former not so much a howl of outrage as an impassioned plea. The eerie calm created by Malcolm Martineau’s playing in the first part of the song was echoed by Ainsley’s quite chilling phrasing of ‘auf dem selben Platz,’ and his superb diction at ‘was äffst du nach mein Liebesleid’ made the song’s atmosphere all the more hectic. ‘Am Meer’ and ‘Ihr Bild’ provided more expected pleasures with beautiful tone and naturally easy legato line, although there was no self-indulgence with either, the tone’s sweetness readily discarded for a bitter one in ‘dass ich dich verloren hab.’
The Schumann group was a model of Lieder style, ‘Mit Myrthen und Rosen’ sung without any archness or sentimentality, the line ‘wie ein Lavastrom, der den Aetna entquillt’ proving that it’s possible for a lyric tenor voice to create a dramatically powerful statement, and the final ‘flüstern mit Wehmut und Liebeshauch’ caressed with aching tenderness. Liszt’s settings of Heine are of course much less familiar than those of Schumann, and Ainsley and Martineau brought out their melodic invention and rich harmonies, especially in ‘Du bist wie eine Blume,’ although the Schumann version sung as an encore reminded us of that composer’s greater sensitivity to Heine’s poetry.
The second half of the concert was all French music, Poulenc’s ‘Tel jour telle nuit’ revealing Ainsley’s deep understanding of the composer’s dictum that ‘calmness alone can give intensity to a love poem’ most finely shown in ‘Nous avons fait la nuit.’ Of Gounod’s ‘Cinq Mélodies,’ the highlight was certainly ‘Au rossignol,’ mesmerizingly played and sung with the kind of rapt contemplation and perfect diction which epitomize this singer’s art.