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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.
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”.