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On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
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.
13 Feb 2010
Otello in Montpellier (version concert)
Concert opera has a long and glorious tradition in Montpellier. Each year the Orchestra National de Montpellier regales us with one or two during the Festival de Radio France et Montpellier (July).
In recent years Donizetti’s Il Duca d’Alba (2007) is an example, or Ildebrando Pizzetti’s Fedra (2008), both conducted by Enrique Mazzola. Lalo’s Fiesque (2006) conducted by Alain Altinoglu boasted tenor Roberto Alagna in the title role (Léonore was to have been la Gheorghiu …). Montpellier’s long list of concert operas includes rare Baroque titles as well as familiar titles like Fidelio — but in the 1812 version. The usual criteria seems to be musically brilliant operas that likely will not be staged ever again (and some of them were not even staged in their own time).
The announcement of a version concert of Verdi’s Otello, hardly the usual contender for such an honor, engendered some mid-winter operatic excitement, and anticipation of possible new revelations into the mysteries of one of the pinnacles of all opera.
Montpellier is sometimes denigrated as “that provincial town that thinks it is Paris,” and in fact the same architect who redeveloped les Halles of Paris took on the urban renewal of Montpellier centre, creating a giant, always lively promenade with the 1888 Comedie opera house at its head and the 1990 Opéra Berlioz at its foot. The Opéra Berlioz is used for the larger nineteenth century repertory, the Comedie for eighteenth century and smaller repertory. Consequently the massive Otello was in the splendid new opera house. The acoustic of the Opéra Berlioz has proven itself better adapted to opera, i.e. pit and stage, than for concert. Otello is loud, sometimes very loud. The orchestra shell amplifies these forte’s even more resulting in a shattered treble, and very limited transparency, faults rarely apparent in its staged operas.
The distinguished American conductor Lawrence Foster is the new music director of the Orchestra National de Montpellier. He too boasts an impressive resume of concert opera.
Without the stage opera loses its essential persona, and becomes an abstract form that is very transparent and unforgiving. Just now in Montpellier, after the initial excitement of the Verdi’s opening storm, and the titillation that something magnificent was going to happen it became very much opera business as usual. Revelations were in short supply, and in fact there were even periods of tedium. This Otello never ignited after its initial sparks.
Possibly Otello is a poor choice for a concert piece. Its reputation as one of the few masterpieces of the repertory that truly melds music with drama demands that it be musically driven to be dramatically alive. With Verdi’s actors behind the conductor (i.e. not on stage facing the conductor in the pit) a vital communication link was missing. Two major scenes underscored this lack — the hugely complex Act I fight and the daunting Act III septet when Mo. Foster focused on keeping his orchestral and choral forces in order, and out right abdicated his dramatic responsibilities. Had his actors been under his baton perhaps they would have inspired some theater into his beat. As it was Mo. Foster delivered these scenes as squarely paced measures of music you had to get through somehow. We were deprived of the build-up to the exposition of Otello’s triumphal strength and the horror of his public denigration. Both were decidedly pale moments in this concert performance.
The Otello was Georgian tenor Badri Maisuradze, a bear of a man who did not need black face to distinguish himself as an exotic creature. But Mr. Maisuradze could not get his words out. Though he sang with almost enough super-human force to qualify as a real Otello his text projection was non-existent, eviscerating his character. Mr. Maisuradze is a fine artist to be sure, his Act III monologue and his death were beautifully sung.
The one interpreter who succeeded in inhabiting her character was Dutch soprano Barbara Havemen, and this despite some troubling pitch approximations. Mme. Haveman possesses a large voice of sterling clarity, and perhaps the pitch issue is a by-product of this voice. She delivers brilliantly clear high notes, and she descends expressively into a guttural chest voice. The high point of this concert Otello was her Willow song, and particularly her Ave Maria when all the pathos of this first heroine of Italian melodramma was keenly present. The actual presense of the English horn rendered this great Verdi number musically vivid, and vindicated opera as concert for these few minutes.
Iago was Russian baritone Sergey Murzaev, a facile artist who served up a vocally exuberant villain but did not succeed in imbuing any sense of malice into his character, even with the help of Verdi’s exuberant Act II woodwinds. Neither Mo. Foster nor Mr. Murzaey touched the nuances of this subtle character who does in fact sing very loud, and that Mr. Murzaey did.
Otello and Iago’s nemesis Cassio was sung by Italian tenor Maurizio Pace. At least this singer was not snatched from an opera company’s young artist program to attempt this pivotal role. Mr. Pace seemed to be a mature artist, almost of the size needed to thwart Iago’s ambitions and ignite Otello’s jealosy. The fine vocal accomplishment of French bass baritone Christian Helmer as Lodovico was compromised by his youth, unable to embody the majesty and power of Venice.
Concert opera is staged. Not only do we obviously associate the interpreter with the character (and we do not have the costume to help us) but we place every movement on the stage in a musico dramatic context. The striking motions of the double basses performing their solo at the opening of Act IV creates musical and dramatic excitement, as does Verdi’s wrenching solo cello, not to mention watching the bassoons double the cellos, and the oboe morph into the serpent. And the list goes on. This is the domain of concert opera.
This concert performance was a mess with performers walking on and off the stage throughout the performance, often during musical passages of primary importance. A large children’s chorus trooped on and off the stage during Act II. Apparently there was no one in charge of the staging of this concert opera. Otello deserved better.