Recently in Performances
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
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.