Recently in Performances
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
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.