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Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
05 Mar 2010
Ariadne auf Naxos, New York
As the first familiar themes of Ariadne came from the pit, I felt
myself sinking — sinking from a tense, dreary, daily world into a sort of
ecstatic fantasy — a place where all was happy, funny, romantic, inane,
fateful and surprising all at once — Sarah Connolly superb, Kathleen Kim
charming, Nina Stemme full-throated,
Kyrill Petrenko bringing out all the
elegant, edgy Schwarmerei of a score that is supremely sophisticated
without being too sophisticated to believe in fanciful dreams, and the
production, for once in a long while, was a production of the opera being
performed, so that all the parts fit together instead of sticking out like
bleeding, inefficiently amputated limbs. All was bliss. I can’t remember
the last time I so thoroughly enjoyed being at the Met.
You remember the colorful Elijah Moshinsky production, with its vertiginous
three-story farthingales on the earth spirits, its rather overdone acrobatics,
its sky map giving way to shipscape giving way to setting (or is it rising?)
sun? Well it’s as charming as ever. Laurie Feldman’s redirection
has no doubt been hampered by having a cast of comparatively slim singers for
once — her Brighella, has to wear a false tummy to live up to
commedia expectations — but all were game, and the clowns tossed
Zerbinetta about in the air in mid-roulade without hampering her breath
control. (Diana Damrau, over in La Fille du Régiment, take notice.)
Kathleen Kim as Zerbinetta and Sarah Connolly as the Composer
Sarah Connolly, who sang the Composer radiantly, is not a pretty woman, and
she makes her looks work for her in her frequent assumption of trouser roles
(Giulio Cesare, Romeo, Ariodante). As a lover, she is sometimes less than
convincing, but she was irresistibly right this time for the adolescent,
idealistic musician, Strauss’s tribute to his beloved Mozart:
clumsy-charming and visibly a-quiver when a seated Zerbinetta casually leaned
on his knee. Connolly sang the little air to Cupid and the fervent hymn to
Music (the two gods, one might say, who preside over this opera) with a fervent
delight that reminded more than one listener of Troyanos and was certainly the
most enthralling account of the part to be heard at the Met since her day.
Lance Ryan as Bacchus
I think I’ve never heard a bad Zerbinetta — they’re either
good or terrific in my experience, which goes back to Reri Grist — and
Kathleen Kim (if not quite Swenson or Dessay) was on the terrific end of the
spectrum. She is one of the tiny Zerbinettas (a group including Grist
and Dessay), and she makes use of her size and agility to boss big
folks to great comic effect. Her bewitchment of the hapless Composer is quite
believable. In the early scenes her trills were on the colorless side, but all
was in place by the time her “Grossmächtige Prinzessin” began. In
that bravura number, where the cascades of ornament can often lack color, she
made the notes identifiable notes and brought down the house.
Nina Stemme is too rare a visitor on these shores, as the great dramatic
German roles are currently in disfavor here or tend to be performed by
second-rate Americans. She sang Ariadne with torrents of earth-deep sound in
colors of cognac and sherry, rising to superb heights, rich with frustrated
— and then idealized — emotion. She is also as slim as any lover of
the opera could desire, and plays a glamorous send-up of a diva.
The trio of “earth-spirits” were charming — and in the
higher reaches of the house, I’m told, blended with unusual delicacy.
Though all very decent, the men were not quite so fine as the women in the
cast. This is not a tragedy in Strauss, who would have done without male voices
entirely if he’d been permitted to do so. Lance Ryan sang the high-lying
role of Bacchus without a squall or a crack, in itself an achievement, but with
a dryish color that did not always give pleasure. Jochen Schmeckenbecher sang
an admirable Music-Master, and the comedians were ably handled by Markus Werba
as Harlekin — one has heard more sensuous serenades — Mark
Schowalter, Joshua Bloom and Sean Panikkar. In this staging, Scaramuccio and
Truffaldino have very little to do and no distinction, but Panikkar gave
Brighella a distinctive sound and antics.
Michael Devlin — surely not the man I heard sing Ptolemy to
Sills’s Cleopatra forty years ago! And the Count to Te Kanawa’s
Countess thirty years ago! But yes, it was he — performed the speaking
role of the Major-Domo with archducal hauteur, a man so snooty he regards
singing in an opera as beneath his dignity.
Kyrill Petrenko demonstrated clarity and genuine feeling for Strauss’s
mingling of delirious motifs, and produced not just a musical fabric but a
philosophic statement. The singers all found him easy to work with — they
went about their comical antics without appearing to pay him any attention, but
they were always together and he was always having fun. So were we.