Recently in Performances
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.