Recently in Performances
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
Having been privileged already to see in little over two months two great productions of Die Meistersinger, one in Paris (Stefan Herheim) and one in Munich (David Bösch), I was unable to resist the prospect of a third staging, at Glyndebourne.
‘Mack does bad things.’ The tabloid headline that convinces Rory
Kinnear’s surly, sharp-suited Macheath that it might be time to take a
short holiday epitomizes the cold, understated menace of Rufus Norris’s
production of Simon Stephens’ new adaptation of The Threepenny
Opera at the Olivier Theatre.
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.