Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
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.