02 May 2010
No Elephants — Aida at the Royal Opera House, London
It’s time Verdi got attention in Aida, not elephants.
Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
It’s time Verdi got attention in Aida, not elephants.
The blue elephant in Graham Vick’sTamerlano almost stole the show, but elephants were pointedly banned from this new production of Aida at the Royal Opera House, London. Instead, Verdi’s music takes pride of place, revealed in full glory.
Pre-performance publicity indicated that this would not be a stereotype production, but minimalist it certainly was not. Abstraction in many ways suits Aida, an opera of secrets and mysteries.
Marcelo Álvarez as Radames and Marianne Cornetti as Amneris
Large structures loom over the cast, for this is a drama where individuals are pitted against overwhelming forces. The simple, strong lines also permit a new kind of staging, created from light and colour.
No elephants, no circus. Instead the focus shifts onto Verdi’s music itself, revealing its magnificence without distraction. How glorious it is, heard as music! Indeed, it’s because Aida is so vivid orchestrally that we’ve become accustomed to associating it with grand panoramas. But music is in itself abstract. This time, the orchestral colours can be seen as well as heard. Shades of rose and ochre, scarab and peacock, amethyst and sand, glow iridescently, transforming as the music develops. Synaesthetes may overload, but this abstraction is surprisingly expressive, given the connection between visual image and music.
Nicola Luisotti conducted with flair..Tempi were on the fast side, but better that than too slow. Freed from the restraints of cumbersome staging, the orchestra’s pace matched the nervous energy in the drama. Violent moods, violent music. In the scene at the Temple of Vulcan, the Egyptians are working themselves up to a frenzy. Heightened emotion in the orchestra but less so in the dancing. The Rite of Spring style choreography would not have been out of place, but perhaps too much to expect. Strange, distorted shapes hang from the sky, like the corpses of the dead. When the prisoners shuffle in, they look like they’ve been in battle. As Aida (Micaela Carosi) reminds us, the Triumphal March may be triumph for some, but defeat for others.
In the third act, when Aida sings “Qui Radamès verrà,|” Carosi stands before a black and white panel, as stark as the dilemma before her. But when Micaela Carosi sings, the lusciousness of her music translates into washes of blue and green, evoking the dark, swift Nile and “cieli azzurri” above, her Egyptian present and memories of her native land. Carosi is a very experienced Aida. Her middle voice is secure, so the extremes in the part feel natural, rather than over-coloured. Aida is constrained, all around, by secrecy and the need for stealth, so she is a strong personality, and alert.
Marcelo Álvarez as Radames is a more conventional portrayal. He hectors, but then, Radames is a headstrong hero, eager for battle, but ennobled by the grace of love. His finest moment comes as he and Aida face death, when his voice softens and takes on a gentler tone. Marianne Cornetti was a forceful, forthright Amneris, and Marco Vratogna’s Amonasro suitably subdued.
Jennifer Tipton deserves much credit for designing the magnificent light show. David McVicar proves that abstraction does not mean minimal, and is just as valid musically as circus gimmicks.