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Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
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.