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The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
25 Oct 2009
Baldassare Galuppi: Jahel
Dr. Charles Burney, who in August 1770 heard Galuppi’s singing girls
at the Incurabili, one of Venice’s four competing Ospedali or
musical orphanages, admired both their excellent performing standard
(“indeed all were such as would have merited and received great applause
in the first operas of Europe”), and the quality of the music that the
aging maestro was still able to write for them: “ it is generally allowed
here that his last operas, and his last compositions for the church, abound
with more spirit, taste, and fancy, than those of any other period of his
Had Burney visited Venice and the Incurabili short earlier, on May 24, he
might have attended the premiere of Jahel, a Galuppi oratorio recently
unearthed at the Zurich Central Library in Switzerland — probably a
remake of the score already performed at the Ospedale dei Mendicanti in 1747
and 1748. By 18th-century standards, 23 years was quite a long time-span in the
change of musical taste. Perhaps that’s why in 1772 Galuppi reverted to
the same subject on a different libretto and with a larger cast of characters
under the title Debbora prophetissa, but the core story remained the
same, based on chapters 4-5 of Judges in the version provided by the
Latin Vulgate Bible.
Actually, despite the triumphs gathered by his operas in London, Saint
Petersburg and Vienna, nowhere did Galuppi enjoy more popular acclaim than as a
composer of Latin oratorios on Bible subjects for the Ospedali of his
native Venice. It is reported that his Tres pueri hebraei in captivitate
Babylonis — premiered in 1744 at the Mendicanti — scored some
hundred (paying) performances, a feat comparable to those of modern musical
theater. Unfortunately, the 1770 version of Jahel is all we are left
with in this genre, since two more oratorios surviving in musical sources
(Adamo caduto of 1747) and Il sacrificio di Jephtha of 1749)
are in Italian.
At the outset of the eighteenth century, the language of oratorios at the
Incurabili became exclusively Latin, to remain so under the musical
directorship of Porpora, Jommelli, Cocchi, Ciampi, and Baldassare Galuppi. A
similar trend affected more or less the remaining three Ospedali.
Although the librettists’ choice was for a simplified variety of Latin,
aping at the stock imagery from contemporary cantata and opera seria
texts, one wonders whether the traditional status of Venice as a target for
multinational operagoers could account for such an unexpected association
between Latin and bel canto on a scale even larger than in Catholic
Hearing those notes again within the Scuola Grande di San Rocco — the
‘Sistine Chapel of Venice’ studded with masterpieces by Tintoretto,
Titian and Tiepolo — was well worth a trip. As to the actual merit of the
performance, one might regret that a few arias were pruned of their da capo, or
that a harpsichord was substituted to the organ stipulated in the continuo
section. Nevertheless, the sparse period band Orchestra Barocca di Bologna,
some ten instrumentalists led by Paolo Faldi, sounded well attuned to style
requirements, with rhythmic stamina and accurate tuning generally deserving
Title page of Jahel [Zentralbibliothek Zürich]
Not all the six singing ladies would have deserved the same applause as
their early counterparts, either out of lacking experience or worn-out voices
(the latter was probably the case for Candace Smith in the role of Sisara). Yet
both sopranos Pamela Lucciarini in the title role and Silvia Vajente (Debbora)
delivered terrific amounts of passagework, competing on a tight edge as to
projection and clarion notes. In the end, Vajente apparently won by a neck
thanks to a clearer diction and to the sensuous rendering of her aria
“Rosa et lilio”, accompanied by a pair of obbligato mandolins. As
Barac, mezzo Elena Biscuola unsheathed lovely dark color, accomplished
technique and dramatic panache. Her climactic duet with Vajente (“Fugato
jam maerore”, just before the final ensemble) was also praiseworthy.
Patrizia Vaccari, a coloratura soprano of considerable experience, delivered
a defiant rendering of “Non horret cor forte”, much in the vein of
Constanze’s “Martern aller Arten”. The taxing
‘storm’ aria for Haber, “Pugnent nubes fulminando”,
emphasized the good natural qualities of young soprano Laura Antonaz, such as
sterling color and easiness in ascending to the highest pitches. Her coloratura
technique needs further refinement, though.