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Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
25 Oct 2009
Ruxandra Donose stars in L'heure Espagnole at the Royal Opera House
Ruxandra Donose sings Concepción in Ravel's L'heure Espagnoie in a double bill with Gianni Schicchi at the Royal Opera House. Concepción is an unusual personality, so Miss Donose's characterization is interesting.
L’heure espagnole is a rapid-moving farce, and Concepción is the pivot around whom all the action revolves. It’s a demanding role for she’s on stage all the time, carrying the action. “It takes a high level of energy to keep going like this for nearly one hour”, says Miss Donose. “I think it’s wonderful how Ravel gets the orchestration to create vivid details like the cuckoos in the cuckoo clocks,it’s so funny. That’s why this opera is done so often in concert, it lives through the music”. She has sung the role in two separate concert performances, but this Royal Opera House production is fully staged, which emphasizes the movement and drama in the plot.
“Concepción has only one hour in the week when her husband is away, so she has to squeeze all her frustrations into that time”, says Miss Donose, “She’s doesn’t get any attention from her husband, but when she tries to relieve her frustrations, she gets all this unplanned attention from other men so she’s frustrated again”.
Everything spins around Concepción, rather like the clockwork mechanisms all round her. “Timing and blocking mean a lot in this production. On the very first day, I was told that this production, by Richard Jones, is very difficult, because there are lots of very precise details and they might take a lot of time to get right. Actually, that went smoothly, but it was interesting coming to the character from outside to inside. There are gestures that don’t come naturally to me, but are part of this Concepción, so I have to make them my own. It’s a process like putting on a costume, you put on those hundreds of small details so they come naturally to you.so you slip into the role.and become the character”.
Because Ravel’s music is so precise, “The ensemble is very important”, adds Miss Donose, “the other characters are much more than caricatures. The poet Gonzalve (Yann Beuron) can’t stop making poetry, and the banker Don Inigo Gomez (Andrew Shore) is solid, like he’s stuffed with money. And the muleteer Ramiro, played by Christopher Maltman, is a strong fellow, who doesn’t do small talk. The clocks aren’t as heavy as they look but they’re bulky and Maltmann has to carry them up and down when he’s singing! ”
“Torquemada (Bonaventura Bottone) lives only for his clocks, they are his only passion, but Concepción is passion, and so direct” ! Just as Torquemada prefers objects to people, Concepción uses people as objects to get what she needs. “Husband and wife are on completely different planets. Concepción is very terre à terre, as the French say, she’s very down to earth so she’s extremely direct. She’s unhappy but determined to get what she needs. In this production, she’s like child who wants a toy and stamps her feet if she can’t get it”. Concepción’s obsessiveness is not so different from Torquemada’s after all. “I’m not like that”, says Miss Donose, “so all the detailed gestures helped me understand what to do with this character.who is much more single-mined and direct than most women”.
Christopher Maltman as Ramiro and Ruxandra Donose as Concepcion
Ruxandra Donose’s starring role in L’heure Espagnole reflects her status as one of the more expressive personalities among the rising generation of mezzo-sopranos. She’s reached the stage where she’s so technically assured that she can focus on developing the characters she portrays. She’s sung Marguerite many times, including with Nagano and Dutoit, and has done many Carmens, Charlottes and even a few trouser roles. Among her favorites though are the Composer in Aridane auf Naxos and Cenerentola. In the near future, she’ll be singing a lot of Mozart, Singing these roles is enriching. “It’s a great experience to embody someone you are not yourself, but can create. For a few hours you have a chance to live another life”.