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On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.
Peasants revolt in a sea of Maserati and Ferrari’s.
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.