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A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
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.
28 Mar 2010
A Composer Grows before his Work — The Grapes of Wrath at Carnegie Hall
Many congratulations and thanks are in order to the Collegiate Chorale for
bringing Ricky Ian Gordon’s adaptation of The Grapes of Wrath to New York audiences this week.
However, while the evening at Carnegie Hall was more
theatrically compelling than most semi-staged performances, the compromise of
shortening the three-act opera into two acts of music-theatre with a crossover
cast seemed better intended than it was actually effective. Firstly, by
replacing the connective recitative with narration from novel (read by Jane
Fonda), Gordon’s musical diction was made less effective and, moreover,
Michael Korie’s rhyming libretto suffered in comparison to John
Steinbeck’s original prose. Secondly, changing the theatrical structure
of the evening necessarily altered the musical architecture. Reoccurring
motives effectively became musical theatre reprisals rather than the thematic
development post-Wagnerian opera audiences expect. At its best,
Gordon’s score evoked Ragtime more than Porgy and Bess.
The crossover casting, made possible by across the board sound enhancement,
was inspired in some instances but minimized the vocal demands on the singers
and did little to establish The Grapes of Wrath as an equivalent to the great
American novel. Christine Ebersole was in character from the moment she stepped
onto the stage, much more so than most of her counterparts from the world of
opera and concert repertoire. That said, while her brief appearance as the
waitress Mae should be lauded for the character arc created in a single scene,
Ebersole’s vocalism on Monday evening would be considered lacking on
either the Broadway or the operatic stage. Victoria Clark and Steven Pasquale,
both from the original cast of Adam Guettel’s The Light in the Piazza,
fared better. As Ma Joad, it was Clark, rather than headliner Nathan Gunn, who
proved to be the both the musical and dramatic lynchpin of the evening.
Pasquale used Al Joad’s short second act aria “Hooverville”
as an opportunity for cynical showboating à la Gershwin’s Sportin’
Among the opera singers in the cast, Gunn had the easiest singing and, not
coincidentally, the most fun with his musical material. His duet with Sean
Panikkar (stepping in for Anthony Dean Griffey as the preacher Jim Casy)
featured the evening’s most exciting vocalism. Moreover, Panikkar dealt
with the Jiminy Cricket text of his aria “Things Turn Around” with
considerable style and dignity. It was unfortunate to hear such a fine
singer’s phrasing and coloring flattened by the so-called acoustic
In order to elide three acts into two, Gordon and Korie had to cut much of
the musical and dramatic exposition and development. Therefore, the aria
establishing Jim Casy’s character was actually his swan song. This was
also the case with Andrew Wilkowske in the role of Noah. Perfectly cast,
Wilkowske carried off the evening’s most challenging scene with sweet
singing, sensitive acting, and overall aplomb. As Uncle John, Stephen
Powell’s performance was fully realized both dramatically and vocally.
Within the ensemble cast, Matthew Worth played three parts, but should be
especially commended for his turn as the Ragged Man.
Nathan Gunn and Victoria Clark
Costuming by Jacob Climer and projections by Wendall K. Harrington helped to
actualize the opera’s considerable theatrical potential. Inexplicably,
though, Elizabeth Futral showed no visible signs of pregnancy as Rosasharn.
Some of the projections, a mix of black-and-white period footage and color
representations of Dust Bowl meteorological phenomena, were more literal than
evocative (as in the case of the burning crops during the riot at Hooper
Ranch). The evening’s rather abrupt ending, in particular, could have
been made more poignant with different projections and lighting. Perhaps this
was due to the limitations of the concert stage – a full orchestra of
music stand lights took away from the poetry of Rosasharn’s “one
star” in the night sky as a beacon of American hope – or, more
likely, the rushed feeling of condensing a five hours of original music into
In either case, as an evening of music-theatre Gordon’s The Grapes of
Wrath shows promise. Since its original production at the Minnesota Opera in
2007, members of the original team, including director Eric Simonson, have
overseen the subsequent productions at Utah Opera and Pittsburgh Opera as well
as this week’s performance at Carnegie Hall. If new creative teams can
work with the material as effectively as singers like Andrew Wilkowske, Sean
Panikkar, and Stephen Powell have assimilated their roles, then audiences have
something to look forward to.
Clearly, Gordon and Korie are open to the idea of re-tooling their opera in
order to make it more viable for today’s opera houses and audiences. It
would be interesting to see if, rather than featuring a large orchestra and
expanding the use of the chorus, the opera could be centered around a core
ensemble cast à la John Corigliano’s recent reconfiguration of The Ghosts
of Versailles. After all, the difference between a novel and a musical score as
a source document is that as a book stands the test of time it eventually
becomes a definitive example of something specific within its literary canon.
In order for an opera to become part of the standard repertoire, the score and
libretto need to inspire many different interpretations so that multiple
successful productions may be mounted. The Collegiate Chorale’s concert
version of The Grapes of Wrath should definitely be considered a success and a
step towards establishing both the composer and the work within the American