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Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
10 Dec 2009
Der Rosenkavalier - Royal Opera House, London
In dark, damp December we need good cheer, and Der Rosenkavalier at the Royal Opera House, delivers colour and spectacle. in abundance. It's a revival of the John Schlesinger production from 1884, and somewhat antiquated, but that's no disadvantage, for the passage of time haunts Der Rosenkavalier.
The Marschallin knows she’ll never be young again, and accedes to a new generation with whom the future lies. She was herself once like Sophie, forced into marriage by social convention. Strauss depicts a Vienna that by 1911 was about to be swept away. Even Octavian and Sophie have long gone, like “Schnee vom vergangenen Jahr.” Obviously in this revival, the costumes (Maria Björnsen) are new-made, and the sets (William Dudley) have been refreshed, but the air of musty decay is deliberate, because it’s an essential part of the narrative. This gorgeously gilded world is built on false values. By supporting Sophie and Octavian, the Marschallin is placing her faith in love.
There are those who think operas should be museum pieces, preserved forever at the moment of birth. In real life, though, every revival is a new work because the people involved are coming new to it. Even if they’ve sung the roles many times before, the specific demands of performance create a new dynamic. Directing revivals isn’t easy, because everyone has to be inspired all over again.
Sophie Koch as Octavian
Soile Isokoski is one of the greatest Strauss singers of our times. Her experience, and reflective, emotional depth could have made this an exceptionally well-rounded Marschallin. Isokoski’s voice has a smoky, wistful timbre that captures the Marschallin’s true personality. For whatever reason, in this production, Isokoski’s subtle approach seemed sidelined. Because so much is going on in the second act, it’s easy to forget how the Marschallin permeates the opera even when she’s not present. She was kleine Resi, just as Sophie is now. What happens in Faninal’s mansion may well have happened in her father’s home. She may not appear again until the end, but it’s “her” story, reprised anew.
Peter Rose as Baron Ochs and Lucy Crowe as Sophie
the production is so high on visual values, the balance shifts to Octavian, who is, after all the Rosenkavalier, the personification of youth and the future. Sophie Koch is good, even her slight weaknesses play well into the character’s immaturity. More gusto in the “dialect” passages would have been welcome, connecting to the social satire in the plot. Who knows what Octavian might become when he grows older? Lucy Crowe’s Sophie is well acted, bringing out the spoilt brat aspects of the role. Octavian might have a hard time. Strauss had Pauline, so he knew very well that in real life marriages don’t follow the “rules” of society.
There’s a strong element of subversion in this opera, often overlooked in the frills and frou-frou. Strauss sends up the social order, parodying Viennese waltzes, depicting the baseness of aristocratic rule. Peter Rose’s Baron Ochs is suitably brutish. Even a nobleman as debased as he would have been marginally literate, but von Hoffmansthal points out his illiteracy clearly, so it can’t be missed. Strauss builds similar crudity into the music, which Rose might have made more grotesque, but it wouldn’t have worked against Kiril Petrenko’s civil and well behaved conducting. It was good, too, to hear two other Grandees of British opera, Thomas Allen and Graham Clark, as Faninal and Valzacchi.
Thomas Allen as Faninal, Lucy Crowe as Sophie and Sophie Koch as Octavian
This revival (directed by Andrew Sinclair) won’t go down as one of the great moments in performance history, because it lacks the fire and pain that lies in the score. Nonetheless, it’s still immeasurably better value than the usual level of “festive fare” on offer at this time of the year. Even if it’s muted, it’s still a decent artistic experience.