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With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
04 Oct 2009
Il trovatore in San Francisco
SFO general director David Gockley has a mania for developing new audiences — last year The Bonesetter’s Daughter was aimed at enticing the Asian American community into the opera house, and Porgy and Bess encouraged the African American community to cross the threshold.
This fall season, besides programming only composers and operas that everyone has heard of, he seems to have targeted two other rather large groups — those who would not be caught dead in an opera house and those who are hard of hearing.
Verdi’s blockbuster Il trovatore opened the SFO fall season on September 11. The War Memorial’s familiar gold curtain flew out to reveal the production’s show curtain, a detail of one of Goya’s Disasters of War etchings, dampening the festive mood of the inauguration of the company’s eighty-seventh season. The Met and Chicago Lyric had conspired with San Francisco Opera to create this new production of Verdi’s first mega-opera. We can hope that it will not end up in SFO’s warehouse to be revived every five or six years, or ever again.
Verdi blockbusters are not fodder for little league opera. The great big San Francisco Opera had the goods. A big style, knock-em dead, real Italian conductor Nicola Luisotti, the company’s incoming music director; a real Italian tenor, Marco Berti (a recipient of the Giuseppe Verdi Gold Metal), Sondra Radvanovsky, an American soprano who brings real push to “spinto;” the mezzo Stephanie Blythe, Musical America’s (the major trade publication) current Singer of the Year; and Dimitri Hvorostovsky (who needs no introduction) as the Count di Luna. It was a lively contest as to who could sing louder, clearly at the urging of the maestro. It was loud, very loud.
The most beautiful singing of the evening came from Hvorostovsky in the second act reverie of his love for Leonora, though the effect was betrayed by the maestro who too aggressively drove Verdi’s delicate orchestration. Stephanie Blythe heaved the rantings of Azucena from her chest throughout the evening, leaving her vocally exhausted at the end, and arousing our concern for her on-going vocal health. Mme. Radvanovsky was busy with strange operatic acting accompanying her impressively goosed up, later in the evening bleating vocal production, evoking concerns for her eventual vocal health as well. Marco Berti squarely hit the high C (though not for very long) in Di quella pira, actually a high B as the whole aria had been transposed down to accommodate this show-off high note infamously interpolated by tenors.
At the September 25 performance many of the audience rose to their feet when Azucena appeared for her bow, then the balance stood when Hvorostovsky took the next bow (Azucena had just sung her guts out in the final trio while the Count di Luna merely looked on, one might have thought she would have taken the later bows in turn with Leonora and Manrico). Then la Radvanovsky got huge, the hugest applause, probably because she had the softer, prettier arias, followed by the title role, Manrico, who was well appreciated as the most genuine performance of the evening (no one expects sincerity from a tenor, so its lack was not a problem).
Scottish stage director David McVicar got the whole thing wrong. Il trovatore is not about infanticide or bloody revenge (or Napoleonic wars), it is about singing. Famously victimized as a bad libretto Il trovatore is a succession of set pieces that tell what has happened over a thirty year period. There is very little in Il trovatore of what is actually happening at the moment. Each of its eight scenes needs a specific mood to be set within which the story-telling takes place, and it was any attempt to create these moods that this production lacked. Unfortunately this led to a painful absence of poetry in this musically and theatrically over-blown production.
McVicar, as a good director thinks he should, attempted to make a dramatic whole, over-laying a larger mood or concept — the horrors of the Napoleonic wars. Il trovatore is far less than a national or social tragedy, and these larger horrors were quite pale, indeed unnoticeable beside the vicious personal dramas of Verdi’s characters. To the hopeless task of imposing a dramatic unity McVicars and his designer Charles Edwards developed a revolving set that could instantly move from one locale to another, one story to another, with no time for the Verdi’s moods to dissipate and then radically transform themselves. Put this together with the pushed-to-the-hilt conducting of Luisotti and it became opera that hit below the belt.
The performance on September 19 was beamed simultaneously to the digital scoreboard of AT&T ball park where a reported twenty-five thousand people converged to participate in this contest of who could sing loudest. More than opera, Opera at the Ball Park is a San Francisco happening that entices just about everyone to join in the sport of opera, if not the art of opera.