Recently in Performances
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
10 May 2010
Heggie’s Moby-Dick a whale of an opera
It’s glorious and it’s gripping; it’s grand — and
it’s good! Indeed, Jake Heggie’s Moby Dick,
premiered by Dallas Opera in its handsome new Winspear Opera House on April 30,
is a work that restores meaning to basic vocabulary made banal by overuse
through the decades.
Heggie — assisted by his seasoned librettist Gene Scheer — has
achieved something with Moby Dick that American opera has
not experienced in a long time: they have created a work of quality that should
garner itself an immediate place in the repertory of opera houses around the
Announcement of the commission — Dallas Opera’s first for the
Wiinspear — raised eyebrows, for few could imagine a less operatic novel
than Hermann Melville’s 1851 detailed account of sailing and whaling.
Running 500 to 700 pages in standard editions, the book is often dark and
diffuse — everything that an opera cannot be, if it is to reach an
audience with its story. In a sense, of course, Melville made it easy for
Sheer, for the many exegesis on whaling were easily excised as the librettist
laid bare the soul of the novel in his focus on its characters.
As told in the opera Moby Dick is now a story that
explores the raw basic forces of life, underscoring the darkness that drives
men and sends them to perdition. The Great White Whale is only a means to that
end. Indeed, Sheer’s Ahab, the man who has lost a leg to the animal upon
whom he seeks revenge, is yet another Faust out to defy the
less-than-benevolent god embodied in the whale.
It is this confrontation with “the basics,” the unembellished
dark drives that send men on impossible adventures, that the audience feels
first-hand in this three-hour opera. “Feels,” one emphasizes, for
Heggie has written music — always accessible — that requires no
major act of mediation through performers. The score speaks always with telling
directness. There is never “time out” to be mere opera. It is
visceral music; now and then one puts up one’s hand in defense.
That’s why one is wrung out at the end of Moby Dick,
for one has been through it all with the many sailors on the Pequod. The opera
keeps attention riveted on the stage; the mind is not allowed to wander. Most
amazing aspect of the opera is that there is no feeling of condensation or that
anything has been left out. Heggie more than compensates in mesmerizing music
for the liberties taken with Melville’s text.
Heggie’s progress as a composer is documented throughout the score,
which is largely through-composed with arias and ensembles seamlessly woven
into it. The orchestral interludes are destined to take their place next to the
Sea Interludes from Benjamin’s Peter
Moby Dick is a Dallas co-commission with San Francisco,
San Diego and Calgary Operas and State Opera of South Australia, and one can
only hope that the other companies have the high-tech facilities that enabled
the Winspear to take full advantage of an awesome world of effects —
photos, projections and sets — that added so much to this initial
Director Leonard Foglia worked with the hand of a sorcerer to blend
projection designs by Elaine McCarthy into an overpowering and effective whole
with designs by Robert Brill and lighting by Donald Holder. Never did these
visual aspects threaten the primacy of Heggie’s score, in which there is
not one superfluous note.
Scheer achieved dramatic concentration by pairing Ahab — sung to
perfection by veteran Ben Heppner - with first mate Starbuck — stunningly
portrayed by Morgan Smith, a baritone at home in top German opera houses. They
interlock with a second pairing: native and noble Queequeg, engrossingly
portrayed by New Zealand Samoan Jonathan Lemalu, and Greenhorn, the young man
out — Parsifal-like — to learn fear — so touchingly sung by
young American tenor Stephen Costello.
Only in the final minutes of the work does Costello reveal that he is the
man called Ishmael who opens the novel. He is of special interest as the one
character who — in confronting fear — develops. The other three of
this basic quartet remain what they were when the curtain rose.
Sole female in the cast was Talise Trevigne, whose touching incarnation of
Cabin Boy Pip offered little hint of the successful Violetta, Lucia and Pamina
that have made her famous in Europe.
Moby Dick is rich in powerful choruses — the
major show-stoppers of the debut performance — admirable prepared by
Patrick Summers, Heggie perennial collaborator, evoked magnificent playing
from the Dallas Opera Orchestra in giving birth to what is obviously a modern
masterpiece of music theater.
(The opera will enlighten a young generation by revealing the source of the
name Starbuck — even if it fails to explain the coffee company’s
aversion to apostrophes.)