Recently in Performances
Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
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.