Recently in Performances
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
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.
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.)