Recently in Performances
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
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.
08 Jun 2010
Nabucco at Masada
Israel Opera Nabucco includes three Va pensiero’s It’s apocrypha, of course, but legend has it that since its 1843 premiere at La Scala audiences have wanted an encore of the chorus Va pensiero when Verdi’s Nabucco is on stage.
In the opera house encores are out the question — except at youthful Israel Opera, where on June 3 the audience got to hear it three times — and they loved it. This was only one feature of this production in the new, 6500-seat outdoor theater at the foot of Mt. Masada that made this Nabucco fresh and exciting.
Oren, music director of Opera Israel, knows his Verdi. He understands the composer’s style. He knows Verdi was not a subtle musician and — unlike others — he makes no effort to make something of him that he is not. Oren unashamedly relishes the oom-paah of the score, and for him the confused identities of the plot are unhackneyed. For Oren it’s all fun — and that’s what this 25th-anniversary staging that launched a new international summer opera festival was.
But back — to make this case — to Va pensiero. Having performed the chorus and given it again as an encore, Oren then made it a community sing — but not before turning to the audience to tell them that they must not applaud until he brought down his hand at the end of the final note.
The capacity crowd — all five performances of Navucco were sold out — followed his instructions, and then went wild. It was a hoot, and it’s safe to say that Opera Israel at Masada is here to stay. To underscore the prestige of this production IO assembled a cast as committed as it was impressive.
Sterling senior Paata Burchuladze, who came West long ago from Soviet Georgia, sang a majestic Hebrew high priest Zuccaria. (In 1995 Burchuladze sang the title role in the production of Boris Godunov that opened Israel Opera’s new home in Tel Aviv. Since then he has appeared regularly with the company.) Italian baritone Alberto Gazala, who made his IO debut in the title role in this production, went straight to the heart of the troubled Babylonian emperor and portrayed his breakdown and recovery with great dramatic skill. As Abigaille, Greek soprano Dmitra Theodosssiou handled the shifting vocal demands that Verdi makes on the central female figure in the cast with amazing ease, while Italy’s Tiziana Carraro was appropriately gentle and loving as Fenena. (In the alternate cast Mongolian-born Baysa Dashnyam sang Abigaille and Italians Eugenia Tufano, Fenena and David Cecconi, Nabucco.)
The exuberance that Oren brought to the production was an obvious inspiration to everyone on stage and to members of the Israel Symphony Orchestra Rishon Le Zion, pit band of the company back home in Tel Aviv. It carried over to the audience as well, leaving them in a state of animated excitement when the performance ended at 1 a.m.
Behind the joyous success of Nabucco at Masada lay much more than the selection of a work and the assembly of a cast and production crew. We had to create the entire infrastructure for this project, said Opera Israel general director Hanna Munitz at a press conference before the June 3 performance of Nabucco. We had no example to follow; we had to figure it all out ourselves.
This meant not only building a modern theater in the middle of the dessert, but also arranging transportation from Israel’s major cities, organizing packages with the many hotels at the Dead Sea and providing shuttle service from them to the theater. It’s a dream that began four years ago, Munitz said. In the last four months it’s involved up to 600 people all working at one time. Of special importance was the choice of Britain’s Bryan Grant as sound designer for Nabucco. A totally natural sound prevailed throughout the performance.
Photo by Yossi Zwecker courtesy of Israeli Opera
The stage at Masada is 35 by 64 meters — three times as large as in OI’s home theater in Tel Aviv. Director Joseph Rochlitz worked largely without props, distributing the chorus and extras over the broad staircases at either side of the stage and in the area above it. Sets were by Nitzsan Refaeli; costumes by Alberto Spiazzi and lighting by Avi Yoni Bueno.
Munitz announced plans for the staging of Verdi’s Aida in 2011 and mentioned Samson et Dalila by Saint-Saens as a probable future choice for the festival. Nabucco, however, was the obvious opera to launch the festival. And that does in no way imply that Verdi thought of the story that plays following the destruction of the first temple down the road in Jerusalem as a Jewish Opera.
For the composer it was rather a veil for his concern about the state of his native Italy in the mid-19th-century. Be that as it may, you cannot hear Va pensiero — at least not in Israel — without hearing it as an anthem of the Diaspora. It is thus not surprising that the gala concert that celebrated the opening of Israel Opera’s new home in Tel Aviv ended with Va pensiero.
Israel Opera at Masada is further a cultural endeavor committed to an environmental cause: it is supporting a drive to see the Dead Sea named one of the seven new Wonders of the World. The level of water in the Sea is currently falling one meter per year. If this continues, it will be the end of the many hotels there and the tourism that they encourage.
Among projects under consideration is the building of a canal from the Mediterranean — a project envisioned by father of Zionism Theodor Herzl in his 1902 New Land, his Utopian vision of the Jewish state. Among sites under consideration for the new Seven Wonders list are the Amazon River, the Grand Canyon and the Great Barrier Reef. Nabucco — for those who might not know it — is short for Nebuchadnezzar.