11 Apr 2010
One of the City Opera’s happiest ventures over the years has been their Handel series.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
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.