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The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
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.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
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.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
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).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
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.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
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.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
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.
25 Mar 2010
Eva Marton in Puccini and Strauss
At one point in her career, Eva Marton appeared poised to be the true inheritor of Birgit Nilsson’s legacy roles: Wagner and Strauss’s most dramatic heroines, as well as key Italian roles (Puccini in particular).
Ultimately the Marton career — which continues to this day — will not rival that of Nilsson’s. The two DVDs reviewed here give evidence of the power that Marton possessed at her best and of the weakness that kept her from truly assuming the Nilsson legacy.
Recorded at the Vienna State Opera house in 1989, this staging of Richard Strauss and Hugo von Hofmannsthal’s Elektra is one of the glories of live opera on film, deserving of eternal availability. The DVD picture has great clarity, despite the darkness of Hans Schavernoch’s set design. Other than the cliché of a huge statue head, toppled on its side, the set manages to be suitably representative of a decaying palace as well as an imposing, theatrical space, dominated by the mammoth body of the statue from which the head apparently dropped, draped with the ropes that seem to have enabled the decapitation. Sooner or later most of the characters cling to and twist around those ropes, an apt stage metaphor for the remorseless repercussions from the murder of Agammenon by his unfaithful wife Klytämnestra and her paramour, Aegisthus. Reinhard Heinrich’s costumes capture a distant era while sustaining a creepily modern look — part Goth, part homeless, part Spa-wear.
Director Harry Kupfer does brilliant work with the cast. Here Marton seems like a major stage performer. Her Elektra boils inside with hatred and disgust, but she can’t let it show. Marton’s impassive mask draws attention to the steely coldness of her eyes. When she recognizes her brother, Orestes, and knows that her wish will soon be fulfilled, she won’t allow herself conventional jubilation. Instead, she sinks back upon her brother and lets the fire die out of her eyes. Her dance of mortal joy at the end finds her wrapping herself in those ropes trailing from her father’s statue — she lived and died for him; there is no escape. Those who know Marton from her later years will be astounded by the firmness of her delivery — never wobbly, never shrieky. If we evaluate a performer by his or her best, Marton proves herself a great singer here.
Cheryl Studer finds a fire, too, in her Chrysothemis. Neither Kupfer or Brigitte Fassbaender will go for any ghoulish caricature for Klytämnestra, which makes her scarier. James King brings more of his heroic tone that one might expect at this stage of his career to the weaselly Aegisthus. Franz Grundheber is in fine form as Orestes, and Kupfer’s inclusion of Orestes at the end, covered in blood and both triumphant and aghast, ensures a shattering conclusion. Claudio Abbado gets a paradoxical performance out of the Vienna State Opera forces — both brutal and refined.
Five years later in San Francisco, Marton is just not the same singer as Turandot. She relies on conventional soprano diva mannerisms, but more damagingly, the voice has deteriorated. High sections are half-hooted, half-screamed, and extended notes flutter from semi-tone to semi-tone. Truthfully, a lot of Turandots sound like this, and many sound worse. Marton herself had established the measure of her abilities with the earlier Elektra; this is simply at a lower level.
The chief attraction here is as a recorded testament to the beauty and ingenuity of David Hockney’s sets. This classic production still gets trotted out (I saw it in San Francisco and San Diego in the early 2000s). However, film doesn’t capture its beauty and charm well. The stage picture is too dark, and frequent close-ups dim the theatrical effect.
Michael Sylvester seemed poised for a notable career at this point, and his Calaf has force as necessary and yet some sweetness of tone. Ian Falconer’s costume doesn’t flatter the tenor, who has a barrel chest and spindly legs. My sister and I had a debate as to whether Mr. Sylvester’s eyes cross at the high note of “Nessun dorma,” but only the wickedly curious will want to get this set to make their own judgment on that. The rest of the cast tends to the pedestrian — Lucia Mazzaria a forgettable Liu, Kevin Langan a prosaic Timur, and the singers of Ping, Pang, and Pong making their scene feel dreadfully long. Donald Runnicles seems to want the evening over fast, with many tempos just a bit too fast.
It is the classic Elektra for which Eva Marton should be remembered.