Recently in Performances
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
27 Apr 2010
Towards the light: Juilliard students present Poulenc’s Dialogues
It started with a bang and ended with a whimper. Juilliard’s
production of Francis Poulenc’s opera Dialogues des Carmélites
opened on Wednesday, April 21 and the performance started out strong.
dramatic swath of red fabric dominated the stage in the Peter Jay Sharp Theatre
and the Juilliard orchestra, lead by Anne Manson, launched bravely into the
In the first scenes, set in the home of the Marquis de la Force in the midst
of Revolutionary Paris, tenor Paul Appleby sang with great dramatic and musical
impetus as the Chevalier de la Force. He sounded at ease singing in French and
was among only a small number of the cast able to carry off Poulenc’s
syllabic vocal setting with both fluid phrasing and a clear line reading of the
text. As his father the Marquis, Timothy Beenken looked and sounded out of
place. A truly terrible wig did him no favors and, as can only be expected in a
student production, he simply seemed too green for the role. This was also the
case with Tharanga Goonetilleke as his daughter Blanche.
In an opera full of compelling characters, Blanche is the most crucial
because, by inhabiting both the outside world and the sanctuary of the convent,
she becomes the lynchpin of the action and the audience’s proxy.
(Furthermore, as Poulenc was famously called a half monk, half delinquent by
the Paris press, she also serves as a surrogate for the composer himself.) Her
intense fears and ultimate moral and existential dilemma should evoke empathy,
not sympathy. Rather than seeming troubled or conflicted, Ms. Goonetilleke
seemed mercurial or even coquettish. Blanche need not be likeable, but her
moods must follow the psychology of Poulenc’s vivid orchestration. From
her awkwardly timed entrance, it was clear that Ms. Goonetilleke, while a
competent and attractive performer and singer, needs more time to develop the
sensitivity required for this role.
Poulenc’s opera is filled with moments of dramatic prescience that
parallel a building musical foreboding. To create a compelling momentum in this
opera of short scenes and tableaux, it is necessary for these moments to be
connected in a sort of symbolic storyline that is as crucial as the actual
plot. For example, in the interview between Blanche and the Old Prioress, it
must be made clear that Madame de Croissy has taken the young girl’s
measure not because the older woman is prophetic, but rather because she
identifies with Blanche and shares her fears. As the Prioress, Lacey Jo Benter
sang and acted well but the impact of her death was lessened by the pallid
approach to her first scene with Blanche.
All of the singers, not just Ms. Benter, suffered from director Fabrizio
Melano’s choice to connect the various scenes and interludes by stringing
them together without blackouts. At best this was awkward for the singers left
onstage, but it occasionally had confusing consequences, especially in the
instances where two scenes set months or years apart became effectively elided.
Furthermore, because the lights remained on in between scenes, the audience sat
and watched as Ms. Benter walked onstage and climbed into bed immediately
before the death scene in which the Prioress asks if she might finally be well
enough to sit in a chair, bedridden as she is with her fatal illness. Her
death, which should be excruciating to watch, was therefore a little
Such inconsistencies aside, many elements of Melano’s direction served
the drama well. The red curtain was particularly inspired as it subtly evoked
not only the typical theatrical curtain, but also a patriotic flag and even the
guillotine itself. The beam of light used to delineate the convent from the
outside world was visually arresting, and the intense glare from the stage
right entrance produced silhouettes on the convent wall – clear physical
projections of the worldly illusions mentioned in the libretto.
Among the rest of the student cast, Renée Tatum and Haeran Hong made strong
impressions as Mother Marie and Soeur Constance, respectively. Tatum imbued her
role as the Assistant Prioress with the required gravitas and she used all of
Poulenc’s generous musical substance as inspiration for her subtle
acting. Not only did Ms. Hong perform with the same musical style and charm she
exhibited during the Metropolitan Opera National Council Audition finals, but
she also portrayed a fully realized character from the moment she entered as
the young novice. She exceeded expectations of any student and could easily
perform the role in a professional production. Both her voice and her face have
an angelic beauty and she appeared both brave and vulnerable in the
opera’s crushing final moments, when Constance is left alone as a single
voice at the end of the Salve Regina only to be joined by Blanche at the last
In the end, it speaks to the level of the students at Juilliard that the
school is able to present such a complex, demanding opera. But it is an even
greater testament to the quality of Poulenc’s opera that only rare
performers can truly do it justice.