Recently in Performances
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.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.