11 Apr 2010
One of the City Opera’s happiest ventures over the years has been their Handel series.
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on Friday night was the latest in the Coliseum’s recent run of new and co-produced productions, and also renowned director Peter Jones’ latest foray into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the same arts festival in Coventry for which Britten’s War Requiem was written and in fact the two works have something in common, dealing with the issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s Die Fledermaus several debuts are notable to both American and Chicago audiences.
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera House risks laying the house’s Director of Opera open to charges of antiquated mores and misogyny: for he seems to suggest that the women are just as bad, if not worse, than their seducer — and that a soulful man who seeks genuine love is likely to find his ‘ideal beloved’ forever out of reach.
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
If satire is your thing you will not want to miss this opera about human testicles grafted onto a dog.
One of the City Opera’s happiest ventures over the years has been their Handel series.
Admirers of the company and the composer may look back with happy nostalgia upon Sills, Forrester and Treigle in Giulio Cesare, Carol Vaness and D’Anna Fortunato in Alcina (the mylar one), Lorraine Hunt and David Daniels in Xerxes, Daniels and Christine Goerke in Rinaldo (with exploding harpsichord), Goerke in the second Alcina (the one with the sexy trees), David Walker in Flavio, Bejun Mehta — his New York debut — in Partenope and, later, in Ariodante and Orlando, Sarah Connolly in Ariodante, Nelly Miricioiu in Agrippina, and Elizabeth Futral and Vivica Genaux (playing Marilyn and Jackie) in a madcap Semele. It is wise of the company to revive one of these works in its shortened season this year, to remind us of a specialty we’d come to appreciate on this side of the plaza.
The work chosen for revival was Partenope, an opera seria that combines the usual musings, tune by tune, on this or that aspect of love with a not-too-serious story of the founding Queen of Naples (a retired siren), her heart and hand sought by three altos and a tenor. Confusing matters only moderately (for a Handel libretto) is the fact that only two of the altos are male (castrati in Handel’s day, countertenors now); the other is a woman in disguise, pursuing the man who done her wrong — one of those very countertenors. At the evening’s climax, after multiple gyrations, each nuance of passion depicted in a da capo aria, Eurimene/Rosmira obliges Arsace — who has loved not wisely but too often — to fight him/her in a duel. This means Arsace has the choice of manner of combat, and he chooses — bare to the waist. I suspect that in Handel’s day Arsace did not tear off his shirt at this point, but what countertenor worth his salt would resist the hint? No matter: Rosmira, her bluff called, admits she’s not a man. Partenope takes the other countertenor, shy Armindo. They have a duet, lifted from another Handel opera (by Handel, actually).
Partenope is a silly piece despite its Handelian glories. If you have the singers to put it over it can be a delight, but it has its longueurs, and for those less than addicted to Handelian vocalism — for those who crave, for instance, two or three voices singing at once now and then in the course of an opera — three acts can exhaust the appetite well before that splendid duet. The duet is worth waiting for, but I know I’m not the only person who wishes one or two of the earlier numbers might have been omitted and perhaps the last two acts compressed into one. But these are forbidden thoughts, notions of our medieval Victorian forebears — the kind who trammeled that notorious Giulio Cesare back in the sixties — and they will find little favor among opera producers today.
Clockwise: Stephanie Houtzeel (Rosmira), Iestyn Davies (Arsace), Anthony Roth Costanzo (Armindo), Cyndia Sieden (Partenope), and Nicholas Coppolo (Emilio)
Francesco Negrin’s production, played in modern dress (color coded: blue for Arsace, changeable as water; red for Armindo’s repressed passions; green for the huntress Rosmira) against John Conklin backdrops that sometimes comment symbolically on the emotional content of the aria being sung, is chic and contemporary without forfeiting elegance or the courtly mood of the work being staged. Andrew Chown restaged it a bit since I saw it last (at Lyric Opera of Chicago), and has suited the actions of his cast to the physiques of the performers at hand — which is admirable.
All the singers sang with style, acted with brio, ornamented with taste in what is currently recognized as the proper baroque style — though none of them were flawless and, which may or may not have weight with opera-goers, the men were perhaps less tasty than other casts one has seen in this production. Welsh countertenor Iestyn Davies possessed the most beautiful voice of the night, an opulent, sensuous alto that easily filled the house, calling to mind both David Daniels and Bejun Mehta in its quality, ardor, intensity of emotional focus and mastery of fioritura — though for ornament, the great “Furibondo” aria that closes Act II still belongs to Mr. Daniels. A local boy making his debut, Anthony Roth Costanzo cut rather a skinny figure in the red costume in which Mr. Mehta made his celebrated debut. Though Costanzo’s instrument thins out on top and in recitative, he acquitted himself very well, especially in the rapturous duet with Cyndia Sieden that concluded the evening, to which both contributed the proper vocal delirium: Those of us who had waited all night wanted a rich dessert, and that’s what they gave us. Sieden, after a shaky start in the title role, got the measure of the hall and ascended her proper throne. Stephanie Houtzeel, the tallest member of the cast and one with a sizable, bigger-than-baroque mezzo, had little trouble pretending to be a man — once she had donned a false mustache that made her far more credible than other singers one has heard in this role. Nicholas Coppolo has a pleasant, agile tenor, if lacking the tragic sense that can give this defeated warrior some much needed dimension. Daniel Mobbs was effective as Ormonte — who often “walks on” without singing in this staging, in order to give this small character some presence in the wider drama.
Iestyn Davies (Arsace), Cyndia Sieden (Partenope), Nicholas Coppolo (Emilio), and Daniel Mobbs (Ormonte)
Christian Curnyn, making his debut with a cut-down baroque-sized orchestra in the pit, proved a splendid Handelian, dancing at one moment, tugging heartstrings at the next, and supporting the vocal flights of fancy of his singers at all times. He joins the ever-growing list of baroque specialists who are also great men of the theater.
I had hoped that the City Opera, under its new management team, would not forget its Handelian triumphs and would resume this beloved series. Clearly they still know how to cast them, and the only reasonable response is: More, please.