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.
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.
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.
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.
Gil Shohat, now 35 and Israeli’s top classical composer, was 15 when
in the ‘80s he saw Hanoch Levin’s The Child Dream on stage in his native Tel Aviv. Shohat, of course, knew Levin’s work well, for throughout early decades in the history of Israel he — its outstanding dramatist — had served somewhat as the conscience of a nation tormented defining itself within its pain-wrought beginnings.
Gil Shohat: The Child Dreams Libretto based on a play by Hanoch Levin
“I knew then that I would compose Dream, said Shohat in a post-performance interview in the Tel Aviv Opera House, where
the premiere of the opera had taken place on January 18. Shohat’s plans
were seconded by Israeli Opera general director Hanna Munitz, who had also
sensed the operatic potential of drama when she saw it on stage.
Touched by the deep despair of the story and the genuine poetry of the text,
Munitz commissioned Dream for her company. It is the first opera
composed on any Levin text. Point of departure for Levin was the 1977 film
Voyage of the Damned, the story of the St. Louis, the ship unable
to attain landing rights for its fleeing refugees during World War II. But
this, it must be stressed, is no more than raw material for what is now
True, the opera underscores the degree to which the Holocaust remains today
a defining experience for the Israeli consciousness, yet the local critic who
placed the new opera “among the most depressing and despair-radiating
operas of the repertoire” missed the point of the transformation of the
story through music achieved by Shohat and his director Omri Nizan. (Nizan, an
old hand at the Cameri Theater, helped Shohat with minor changes in the text
— nothing was added — and then served in the vastly more important
role as director of the production.)
For through music the child at the center of the drama becomes much more
than a single child and his story is far greater than the tale of one
individual example of injustice. The Child is now a young Everyman with hopes
for a better and more just world. That this world is closed to him — and
not just by the near-criminality of captain of the ship that might have brought
salvation — elevates Dream to the level of mythic
universality. The story is quickly told. The Mother hopes to escape with her
son on the ship. The Captain demands payment “in the flesh.” The
ship reaches a ghost-like island, but passengers are not allowed to disembark
by the despotic governor, the second evil figure in the story.
In one of the most moving moments in the score — 2 hours and 30
minutes with one intermission — a crippled child — mezzo Shira Raz
I’m a poet.
I write about you who come out of the fog
and return and disappear in it. I weep over your fate
and sketch it.
your faces approaching tell the tale of delusion;
but all human failure is stamped on the back of your
The Crippled Child speaks above and across the play for Levin himself who
sees little but frustration and failure in the attempted escape.
The final act — an apotheosis of sorts — breaks with the seeming
realism of the earlier three acts (and it was wise, therefore, to insert the
intermission at this point). Dozens of “dead” children suspended
above the stage whisper of their fate while the female nonet that opened the
opera sings again of their sorry situation.
There is a Straussian sadness about this conclusion; it its muted melancholy
it recalls the elder composer’s Metamorphosen, the
“mourning for Munich” that he wrote after the destruction of his
native city. It is deeply felt and moving music that might well become a
concert piece in its own right.
And as the many who visit the memorial to children victims of the Holocaust
in Jerusalem’s Yad Vashem experience not consolation but rather the hope
beyond hopelessness so essential in any confrontation with the vast inhumanity
of the 20th century, here too there is an elevation beyond meaningless
Child Dream is an ambitious work calling for a cast
of 20, all drawn from the roster of the resident company. Outstanding among
them were Larissa Tetuev as the Mother, a role she shared later with Ira
Bertman, Hila Baggio as the child and Noah Briger as the Captain.
In only his second season as IO music director, David Stern extracted
exemplary playing from the Rishon Le-Zion Orchestra, the company’s pit
band. Sets and costumes were effectively designed by Austrian-born Gottried
Helnwein. Lighting by Avi Yonah Bueno contributes to making this a colorful
show engaging to the eye.
Shohat has documented his superlative command of the composer’s craft
in an incredible long and diverse catalgue. In Dream, however, he
travels on no new turf, but concentrates rather on giving musical meaning to an
unusually demanding text.
Dream is written for reduced orchestra, and outstanding is the
manner in which Shohat has woven the piano into the ensemble to achieve unusual
effects. (The composer is a concretizing pianist as well.)
It is unavoidable that some find the opera with its focus on the death of
children depressing and even morbid. In so doing, they overlook the strong
element of empathy that Shohat’s music brings to Levin’s turgid
story. In the final analysis, Child Dream is an
affirmative work that deserves to be seen outside Israel.
The production celebrates the 35th anniversary of Israeli Opera; it further
marks the 10th anniversary of Hanoch Levin’s death and the centennial of
the founding of Tel Aviv.