Recently in Reviews
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic
When Italian director Damiano Michieletto visited Covent Garden in June this year, he spiced Rossini’s Guillaume Tell with a graphic and, many felt, gratuitous rape scene that caused outrage and protest.
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