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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.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
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.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
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.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
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.
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.