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Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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