Recently in Performances
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
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.