Recently in Reviews
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
11 Dec 2009
Emma Matthews in Monte Carlo
Emma Matthews is an English born soprano currently resident in Australia where she has sung with the state based opera companies as well as the national company Opera Australia where she is currently a soloist.
Matthews is mostly known for her already formidable coloratura technique. In her work with Opera Australia Matthews projects a big, secure voice in lyric and coloratura roles but also in less likely assignments including the title role in one Opera Australia’s finest achievements, Alban Berg’s Lulu, using that light, lyrical voice to revelatory effect.
This co-production between ABC Classics and Deutsche Grammophon will also be released internationally and coincides with Matthews launches her international career. The project is a luxurious one, instead of an Australian orchestra the Philharmonique de Monte-Carlo is employed and even a second singer (mezzo Catherine Carby) has been brought over to sing the ‘pertichio’ role in the Lucia di Lammermoor scene.
The disc opens with a restrained account of “Glitter and Be Gay” from Bernstein’s operetta-inspired Candide. Eschewing the histrionics that often negate the song’s effects Matthew’s equates the coloratura passages to the type of musical laughter familiar from Manon Lescauts’ laughing song in Auber’s opera or the best known example, Adele’s laughing song in Die Fledermaus. The result is immensely satisfying and encourages multiple hearings.
The folksy “Last Rose of Summer” from Flotow’s Martha reveals Matthews’s beautiful legato but the bulk of the disc is a 60 minute ‘potted’ history of the Bel Canto era before ending with a return to simple serenity. Instead of the celebrated mad-scene from Donizetti’s Lucia di Lammermoor comes the equally dramatic fountain scene is chosen which introduces Lucia (and subtly indicates her mental breakdown is already beginning). The featured mad scene is Ophelia’s scene and ballade from Thomas’s Hamlet. Given in full it the best demonstration of Matthews’s impressive technique as she incorporates the higher and more florid passages introduced by the singer Marie Carvalho and incorporated into the original vocal scores. Matthews then gives an even more elaborate account of the ‘Doll Song” from Les Contes d’Hoffmann and then just enough of an arrangement (the entire thing overstays its welcome even for coloratura fanciers) by Richard Bonynge of Proch’s Theme and Variations (presumably with his wife Joan Sutherland in mind) and which Matthews sings with the same power and agility as Sutherland.
The recital closes with two Australian compositions, and orchestration of a song by Calvin Bowman that has a folksy simplicity and even a beguiling Scotch rhythm in places. The Nightingale’s song from Richard Mill’s opera The Love of The Nightingale is sadly too brief an excerpt from an opera Matthews is so closely associated with. Sounding like a classical vocalise and orchestrated in a lush Ravel-ian manner it brings some beautiful playing from the orchestra. The conductor, Brad Cohen, has a personal interest in this 19th French operatic repertoire and the orchestra, as expected, are a world class band who respond to the familiar items, bringing some very Gallic and incisive playing to the scene from Gounod’s Roméo et Juliette. The recording is demonstration class, Matthews’s voice given an immediate presence with the strings, in particular in the Bowman item, sounding luscious.
Leonard Bernstein: Candide — Glitter and Be Gay
Leo Delibes: Lakme — Ou va la jeune Indoue (Bell Song)
Friedrich von Flotow: Martha — The Last Rose of Summer
Gaetano Donizetti: Lucia di Lammermoor — Ancor non giunse…Regnava nel silenzio…Quando rapito In estasi (with Catherine Carby mezzo-soprano)
Vincenzo Bellini: I Capuleti e i Montecchi — Eccomi in lieta vesta…Oh! quante volte
Charles Gounod: Roméo et Juliette — Air de la coupe: Dieu quel frisson
Amour, ranime mon courage
Ambroise Thomas: Hamlet — A vos jeux, mes amis
Partagez-vous mes fleurs… (scène de la folie d’ Ophelie)
Jaques Offenbach: Les Contes d’Hoffmann — Les oiseaux dans la charmille
Heinrich Proch (arr. Richard Bonynge): Deh! Torna, mio bene, Theme and Variations
Calvin Bowman: Now Touch the Air Softly
Richard Mills: The Love of the Nightingale — The Nightingale’s Song