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On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March.
The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
07 Jun 2010
Seeing Tosca at the Coliseum brings back happy memories, as it was a
performance of Tosca (in a revival of the Keith Warner production in the 1990s) which occasioned my very first trip to the ENO. That also happens to have been
the first time I ever saw Tosca.
Actually, that isn’t strictly true. The first time I came across Tosca was
five years earlier, in my early teens and long before I became really
interested in opera, when I was nonetheless gripped by the live international
TV broadcast from the authentic locations in Rome. That film’s star, Catherine
Malfitano, moved into opera direction herself six years ago, and it is she who
has been charged with ENO’s latest new staging.
The result is a competent, dramatically coherent and (how often these days
can one say this about a recent ENO staging of a repertoire standard?)
eminently revivable production. Above all, it stands out for the believability
of the characters — I can’t remember ever having seen such a natural,
genuine and un-stagey Act 1 love scene between Tosca and Cavaradossi, nor a
Scarpia who so successfully avoided villainous caricature.
The Act 1 set design gives a modern twist on a naturalistic setting, with a
slightly abstract, pixellated version of what is very definitely a depiction of
the actual interior of Sant’Andrea della Valle, particularly during the Te Deum
when a shift in the lighting results in the basilica’s characteristic shafts of
pale yellow light beaming down from the high windows. This coup-de-theatre by
lighting designer David Martin Jacques is one of many touches throughout the
opera which keep the production feeling true to its location, another being the
decision to leave both the Act 2 Cantata and the Shepherd Boy’s solo in the
The Act 2 staging is entirely straightforward, until the last few seconds
where a projection of an expanse of infinite star-filled space appears on the
back wall, a symbol of the simultaneous liberty and wilderness into which Tosca
moves following Scarpia’s murder. After that, Act 3 has a more abstract feel,
retaining the star-studded backdrop from the end of Act 2, with a striking
curved set which looked somewhat as though a ‘realistic’ recreation of the
uppermost reaches of the Castel Sant-Angelo had been tipped backwards through
ninety degrees. This for me was the one jarring note, principally because of
the considerable resultant visual resemblance to Act 2 of Nikolaus Lehnhoff’s
Tristan und Isolde for Glyndebourne — I couldn’t help feeling that I
was watching the wrong opera, and that the music and visuals didn’t match. I
half-expected Tosca to make her final exit in the manner of Isolde in that
production, drifting off into space.
The title role was taken by the South African soprano Amanda Echalaz.
Although a substantial instrument — which I have previously showcased to
thrilling effect elsewhere, including in this very role with Opera Holland Park
— it rarely manages to dominate volume-wise above heavy Puccini
orchestration in a house the size of the Coliseum. Nonetheless it is a
beautifully-coloured, smooth and classy, and she brings the character to
vivacious and passionate life.
Her Cavaradossi was Julian Gavin — a phrase which gives me a certain
sense of deja vu, as I have now heard him in three different ENO productions of
the same opera. It is to his great credit that almost fourteen years after the
first time, he retains the vocal intensity and physical vigour of youth, but
now brings added value to the role with the more baritonal colours of his
increased vocal maturity. The spinto character of his upper voice made the big
moments thrilling, particularly ‘Vittoria!’, Cavaradossi’s political
ardour winning over his romantic ardour.
Anthony Michaels-Moore’s Scarpia was a good vocal match for Echalaz, perhaps
not quite as firmly in his element as in his recent memorable Rigoletto here
but a dangerous, vocally alluring snake in the grass. I suspect that like his
tenor colleague, Mr Michaels-Moore has sung multiple English versions of this
opera — one of the disadvantages of ENO’s use of surtitles is that it
highlights when the words sung do not match those which were supposed to be
sung, and there were a couple of such glitches.
The smaller roles were strongly assumed — Pauls Putninš was a
dramatically-compelling Angelotti despite a shortage of a vocal ‘edge’ to lend
urgency to his delivery, while ENO Young Singers Christopher Turner (Spoletta)
and James Gower (Sciarrone) were both eloquent and incisive.
On behalf of all singers-in-English, I grieve for ENO’s obsession with using
a different translation for every new staging. That sort of thing is inclined
to mess with singers’ minds. Considering that Puccini doesn’t tend to translate
well into English, the Amanda Holden translation used in David McVicar’s 2002
production was really quite respectable, bringing a natural rhythm to the text
within the tight constraints of the musical line. So why now revert to an
ancient and rather ungainly translation by the late Edmund Tracey? I hope other
English-language companies pick up on Holden’s translation so it doesn’t now
Under Ed Gardner, the orchestral sound was full of life and colour, with
special mention due to the vicious snarls of the trumpet in the torture scene.
The cello quartet just before ‘E lucevan le stelle’ was beautifully played
— when I saw the last production I vividly remember the passage being a
disaster, and it sounded so utterly different this time round that I had to
compare the orchestra lists in the two programmes. It would appear to have been
exactly the same cellists now as then, which underlines yet again the extent of
the good that Gardner’s directorship has done this band. Musically, this
performance is a triumph.
Ruth Elleson, May 2010