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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!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
03 Nov 2009
Thomas Arne’s Artaxerxes — Baroque Hyperbole
Thomas Arne's masterpiece, Artaxerxes, was a huge hit after its 1762 debut. Yet the work is now a rarity. This spectacular performance at the Linbury Studio Theatre, will certainly raise its public profile.
Baroque is hyperbole, celebrating exuberance. Artaxerxes, set in ancient Persia, gave Arne an opportunity to create an “oriental” fantasy that would shock and awe. This production, by the Royal Opera House at the Linbury Studio Theatre certainly was spectacular in the true, over-the-top baroque manner, enhanced by modern technology.
Artaxerxes starts in silence. The Orchestra of the Classical Opera Company sits on stage in a brightly lit white pit. They’re wearing white too, which dazzles in the darkly shrouded stage. Gradually from the shadows emerges a truly magnificent golden throne, not like any story-book European king’s throne but an intricate golden web, 5 meters high. It references the Pharaohs —Tutankhamen meets the Peacock Throne of Persia..
The costumes (by Johan Engels) are amazing. They look vaguely 18th century yet are made of Japanese brocade and silk, lime green, neon pink, electric blue, colours that rarely exist in nature, with samurai-like shoulderpads and helmets. European, but with a distinctly alien flamboyance. This is the true magpie spirit of the baroque, an age when Europe discovered that worlds existed beyond anything they’d imagined. It didn’t matter if the influences were Japan or Persia, as long as they were exotic.
The servants who also act as guards, are mysterious, some wearing samurai helmets, but often simply swathed in black, like ninjas. This could be a reference to bunraku, the Japanese theatre tradition where puppets “act”, manipulated by black-clad puppeteers, meant to be semi-invisible. It could be a comment on how formal and stylized life in Court circles might have been. When the singers collapse emotionally, they fall down, held up by the “ninjas” who then become symbols of dark, inexpressible feelings.
The costumes may be hyper-real and the set minimalist, but that reflects the plot. It’s so convoluted it’s not easy to follow even if you’ve read up on it. Artaxerxes’s father Xerxes is assassinated by Artabanes, father of Arbaces, Artaxerxes’s best friend. Both young men are in love with each others sisters. Father frames son for the murder and condemns him to death. But the son is so loyal to the new king, that he kills the rebel General. In remorse, Artabanes confesses and Artaxerxes exiles his regicide future farher in law, restoring the son to honour and marrying the daughter.
Musically, Artaxerxes is surprisingly simple, with a small chamber orchestra, instruments doubled for volume. The continuos are harpsichord and cello. Some of the arias are familiar even though the opera itself is rarely heard. There are good moments for vocal pyrotechnics. Words are held for 10 or 12 measures amply decorated. Nonetheless, it’s not specially inventive as music.Artaxerxes will be much better known thanks to this production, but might not have quite the same effect in concert performance.
Very good singing all round. Christopher Ainslie’s Artaxerxes wasn’t so extreme as some countertenors can be, so he didn’t shake the balance of the ensemble but convinced as an intuitive young man who doesn’t do ruthless. Caitlin Hulcup’s Arbaces was so convincing that you had to remind yourself she was a mezzo. Elizabeth Watts’s Mandane, and Andrew Staples’s Artabanes were solid. Steven Ebel’s Rimenes was striking, his stage presence mature beyond his actual age.
Rebecca Bottone’s Semira was outstanding. Tiny as she is, she sings and acts with such intensity that it seems to shake her frame. It’s Semira who challenges everyone, and it is she who doesn’t accept that Arbaces is a killer. Left to his own devices the poor fellow is a bit of a wimp, despite being sweet. Bottone’s passionate portrayal was so strong that she was worth watching even when she wasn’t singing.
This was a new performing edition by Ian Page, who conducted and wrote additional music for the recitatives. Duncan Druce write the delightful finale, where all the cast sing before the golden throne. The original recitatives and finale were lost in a fire that burned down a theatre not far from Covent Garden in 1808, so it’s good that it should be restored and heard again at the Royal Opera House, not far from where Arne lived 250 years ago.