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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
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.
28 Apr 2010
The Power of Powder: Thomas Adès at the Royal Opera House, London
Thomas Adès’s Powder Her Face is back at the Linbury Studio Theatre at the Royal Opera House. It's a classic. Once again, Joan Rodgers sings the Duchess, supported by Alan Ewing, Iain Paton and the incomparable Rebecca Bottone, all in multiple roles.
In 15 years, Powder Her Face has gone from new music cult hit to an opera of international significance. The Tempest notwithstanding, it’s Adès’s finest work. He’s gone on to fame, fortune and Los Angeles, but hasn’t quite recaptured the vitality of his early work. More recently, he’s revisited Powder Her Face, writing a suite based on it, so maybe that will reinvigorate his creative juices.
So cherish this wonderful production directed by Carlos Wagner. The production is every bit as much of a star as the Duchess of Argyll, who inspired the opera in the first place. In 1963, she appeared naked, but for a string of pearls, in photos which caused a scandal, because she was performing on naked men (one of whom was later revealed as Douglas Fairbanks Jr.)
“In your face” is probably an indelicate term to use in the circumstances, but it describes the magnificent staging well. There’s no way round the fact that the Duchess was destroyed by hypocrisy. In the small space of the Linbury Studio, Conor Murphy’s giant staircase overwhelms, but that’s the point: there’s no escape! It’s a brilliant piece of theatre in itself, because it changes character in each scene. In the end, Paul Keogan’s lighting turns it into a lurid neon sunset, the perfect coda to the Duchess’s life.
Rebecca Bottone as Mistress
The stairs also mean the cast can go up and down using the whole performance space, overcoming the cramped limitations of the small stage. Perhaps that’s a reverse metaphor for the Duchess, too. With her wealth and beauty she could have lived a charmed life, if she’d conformed. Instead she grabbed life greedily, imbibing to the full. The headless men in the notorious photos got away scot-free, as did the philandering, brutish Duke, but the Duchess’s reputation was destroyed. Defiant to the end, she cocoons herself away from a world that’s changing in ways she can’t understand (“Buggery, legal?” she exclaims.) Her end is sordid, but she keeps her dignity, at least in delusion. Larger than life personalities just don’t fit in grubby society.
The music’s remarkably inventive. Saxophones and jazzy clarinets evoke the glamour of 1930’s London. “They don’t know how to do parties now,” she wistfully tells a young reporter. Adès’ does luscious elegance, but undercuts it with sharp, dissonant edges. The luxury is illusion. Debutante balls were a meat market for the upper classes, nothing romantic. The Duchess buys sex from a waiter. “You can get anything with money,” she cries. But others have more money, and more power. The Courts condemn her, to the prurient delight of the “lower” class, represented by Bottone and Paton in dirty macs. And when the money runs out, the Duchess is evicted.
Iain Paton as Waiter and Joan Rodgers as Duchess
Adès weaves elusive sounds into his orchestra. At the beginning of the second Act, he starts with solo accordion, played in a mysterious, bluesy fashion.. It makes an excellent bridge between past and present. Later, accordion, harp and piano (Adès’s instrument and “voice”) combine, wheezing, wailing and tensely staccato percussive blasts. It’s surreal, like hearing the ghosts of the past dancing in Hell. At the end, sinister cracks and whirrs are heard. They’re the sound of fishing rods being reeled in. Like a fish, the Duchess has been caught and dies.
The opera is both diamond hard and brittle, but then, that’s the subject. The Duchess wasn’t a nice person even though she was a product of the circles she moved in, and the men around her are worse. Her sexuality is compulsive, and fundamentally unerotic. (It’s the role, not Rodger’s portrayal, which is superb.) Perhaps the maid gets more fun. Bottone’s high-pitched shrieks at the top of her register (an Adès’ trademark) are well deployed. She’s the voice of anarchy. Her voice rips apart the silky surface of propriety.