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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. True, Opera North will bring its concert Ring to the South Bank, but that is a somewhat different matter. Comparisons with serious houses, let alone serious cities, are not encouraging, especially if one widens the comparison to nineteenth-century Italian composers. Quite why is anyone’s guess; the composer is anything but unpopular. More to the point, Wagner and Mozart should stand at the heart of any opera house’s repertory. They can hardly do so if they are so rarely performed.
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
Though all big opera is called grand opera, French grand opera itself is a very specific genre. It is an ephemeral style not at all easy to bring to life. For example . . .
12 May 2010
La traviata in May, Royal Opera House, London
Richard Eyre’s production of La traviata is so beautiful that it can be watched repeatedly, yet still yield pleasure. But appearances, however splendid, aren’t quite enough to make a completely satisfying evening.
For a great many in the audience at the Royal Opera House on this occasion, it probably didn’t matter. Opera going is a great experience and La traviata is great theatre. I’ve never seen so many cameras popping, or people texting on their mobiles, even during the performance. Routine applause, for the sake of applause, deserved or not, inhibiting the flow of the drama. Opera has always been a social experience. Now it’s audience participation.
On the other hand, this performance was less than gripping musically. Since 1994, some of the greatest singers of our time have graced this production. Last year’s revival, with Renée Fleming, Joseph Calleja and Thomas Hampson, was magnificent. Courageous as they are, this year’s cast, with some exceptions, cannot help but seem eclipsed in comparison.
Dmitri Hvorostovsky as Giorgio Germont
Perhaps it was first night syndrome that the First Act didn’t quite ignite — even the “champagne corks” didn’t pop as brightly as they might. The Royal Opera House chorus, usually one of the best in the business, sounded curiously unfestive, though later they redeemed themselves in the tightly executed scene at the gambling party at Flora’s House. Brisk, well-paced interplay between singers and dancers. The gypsies and matadors embody the life-force that’s ebbing away from Violetta. The shadows of the Carnival that loom over her deathbed are a poignant reminder of what might have been.
The Royal Opera House Orchestra is very good too, so Yves Abel was able to get strong playing. Indeed, some individual soloists were so good that they drew attention away from the singing. Abel seems to have a feel for the flow in longer instrumental passages, so it will be interesting to hear him conduct La traviata again in July.
Ermonela Jaho covered as Violetta for Anna Netrebko in 2008. She’s charming, but Violetta is a strong, complex role. She’s the kind of woman who can drive men to fight duels, yet has the nobility of character to impress Germont. Jabo sings pleasantly, and looks good, but needs greater depth.
Dimitri Hvorostovsky’s Germont has vocal authority, honed through experience in the role. Yet, when he sings “Pura siccome un angelo”, his timbre softens and glows. In “Di Provenza il mar”, Hvorostovsky captures the lilting melody so cannily that he creates the impression of a distant, happier world far removed from Parisian artifice. .Hvorostovsky fills the role, not just the costume. His Germont is a fully realized personality, more interesting, perhaps, than his son. Hvorostovsky’s “Dove’e’ mio figlio?” makes the confrontation feel intensely profound, his voice colouring expressively.
Saimir Pirgu as Alfredo Germont and Ermonela Jaho as Violetta Valéry
Alfredo is a big part for a singer still under 30, so if Saimir Pingu impresses with youthful freshness, that’s no demerit. He has a future ahead of him. Robert Lloyd, as Dr Grenvil, has an illustrious past, but remains in excellent form at 70. Subsidiary roles were well cast, many of whom will also appear in the July series, with Angela Gheorghiu, James Valenti and Zeljko Lucic as principals.