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‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
Michael Grandage's production of Mozart's Le nozze di Figaro, which was new in 2012, returned to Glyndebourne on 3 July 2016 revived by Ian Rutherford.
Said and done the audience roared its enjoyment of the performance, reserving even greater enthusiasm to greet stage director Christophe Honoré with applauding boos and whistles that bespoke enormous pleasure, complicity and befuddlement.
18 Jun 2010
Verdi's Falstaff at The Metropolitan Opera, 1992
A Franco Zeffirelli production for The Metropolitan Opera typically prompts the use of adjectives such as “grandiose,” or “gorgeous” on the positive end or “gaudy” and “gratuitous” on the negative.
However, his Metropolitan Opera staging of Verdi’s late masterpiece Falstaff, decades old and still in use, shows the Italian director in a subtler light. Refreshed since its 1960s’ debut, the sets as seen in this DVD of a 1992 televised performance do not exactly look fresh, but a certain worn aspect fits in well with the scene locations of a seedy tavern and the middle-class home of one of the merry wives. Only the final forest tableaux, modestly attractive, may make some viewers wish Zeffirelli had given into his more ostentatious urges. Then again, the rather drab video probably mutes some of the intended effect.
When a true star singer takes the title role, that central performance can overwhelm the performances of the members of what should be an ensemble cast. That doesn’t happen here, and the show is the better for it. Paul Plishka continues to be a valuable resource as a house singer for the Met, and he makes the most of this opportunity for a rare leading role. He finds both the laughable delusions of the ostensible nobleman and Sir John’s piquant humanity. He may not make the most of the role’s musical opportunities for characterization, yet his subtler approach swerves the composer’s intent very well.
The strength of the women would justify a return to the title of Shakespeare’s source, The Merry Wives of Windsor. Mirella Freni is a magnificent Mrs. Ford, playful, yet commanding. Near the start of their careers, both Barbara Bonney and Susan Graham sing with youthful attractiveness, though with not as much character as that of the veteran cast members. The perfect example of that comes in Marilyn Horne’s Miss Quickly. A playful Ms. Horne uses her expert comic timing to great effect, and that over-developed richness of her voice that made many of her late performances heavy going for some people does not get much use in Verdi’s fleet-footed writing. A young Frank Lopardo shines in his brief act three solo. Bruno Pola as Ford makes for an almost too gruff and unpleasant comic foil, and what should be his highlight moment slows down the pace.
James Levine loves the energy and rhythmic pulse of the score; those who find his approach eventually exhausting will surely get tired. A good counterpart to this very well sung Falstaff in traditional garb is the Mehta/Raimondi update from the Maggio Musicale Florentine, also well-sung but with an edgier comic profile.