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Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.
In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.
High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.
The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.
‘Only make the reader’s general vision of evil intense enough
and his own experience, his own imagination, his own sympathy
will supply him quite sufficiently with all the particulars.
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
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.