Recently in Performances
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
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.)