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Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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.