Recently in Performances
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.
Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim
) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.
24 Aug 2010
Aspen makes Corigliano’s Ghosts classic
When it debuted at the Met in 1991 John Corigliano’s overwrought and somewhat all-too comic Ghosts of Versailles was praised largely as a vehicle for the long-celebrated artistry of Teresa Stratas and Marilyn Horne.
The Met production journeyed to the Chicago Lyric — and then the work
disappeared. Happily, Ghosts returned to life a year ago when John
David Earnest’ s revised and trimmed-down version was premiered by the
St. Louis Opera Theater and then exported to Ireland for the festive opening of
a new house in Wexford.
Still scored, however, for 60 singers and a full-sized orchestra, the
demands made by Ghosts places the work beyond the reach of many
professional companies, while making it a field day for student opera
enterprises. Northwestern University staged the work last season, and a third
totally new production by the Aspen Opera Theatre Center brought down the
certain on the 63rd season of one of the nation’s major summer festivals
late in August. Edward Berkeley, Juilliard mentor who has directed the Aspen
Center for three decades, built the 2011 season around the figure of Figaro.
Ghosts was preceded by both Rossini’s Barber of Seville
and Mozart’s Marriage of Figaro, the first two parts of Pierre
Beaumarchais’ 18th-century account of the Almavivas. (Northwestern staged
the same “trilogy” during its past season.)
“Ghosts fits a festival well,” said Berkeley, who
directed the production, seen on August 19 in Aspen’s historic Wheeler
Opera House. “And in this context it gave students a look at how
different composers treat the same group of characters.” “It also
gave our audience a chance to compare how they have used the same
Although the reduced version — with a single intermission it runs
slightly less than three hours — contains enough plot and calls for
singers sufficient for three operas, the Aspen staging made clear that
Ghosts is a success now worthy of entering the standard repertory. The
central figure of the story is Marie Antoinette, who 200 years after she was
beheaded in the French Revolution, wants to return to life. In an
opera-within-an opera the story moves back to 1793 and offers a complex picture
of the Almaviva family, familiar from Rossini and Mozart.
For the libretto William M. Hoffman relied heavily on The Guilty
Mother, the third part of Beaumarchais’s Figaro trilogy.
But instead of merely re-writing the story Beaumarchais, author the original,
becomes the central figure of Ghosts — author, director and
major figure of the inner opera, in which he and the late Empress fall in love.
Although it is still more opera than can be absorbed in a single performance,
Ghosts is now effective and often moving theater. (Small wonder that
one heard voices in the Aspen audience express the wish to see the work
Top vocal honors in Aspen went to South-African soprano Golda Schultz, now a
student at Juilliard, who sang Rosina. Her tender duet with Korean mezzo
Chorong Kim, now — as Beaumarchais tells it — the loving father of
Léon, was the highlight of the Aspen staging. As Beaumarchais, the man who
makes everything move in Ghosts, tall and lean bass-baritone Andreas
Aroditis, a further Juilliard student, was amazingly adept and versatile.
Christin Wismann, cover for the role in St. Louis and a member of the
supporting cast in Wexford, was a delicately tragic Marie Antoinette, an ideal
object for Beaumarchais’ affection. As ill-intentioned Begéarss Julius
Ahn, a regular with Boston Lyric Opera, was delightfully malicious in his Aspen
debut. David Williams, a recent studio artist with Berlin’s Komische
Oper, left one with a strong desire to hear him as the “real”
Figaro, the role that he sang with such professional aplomb in the Aspen
Ghosts. And Aspen provided him with a vivacious Susanna in Kim
Sogioka, a mezzo with impressive credentials in the oratorio world. Tenor
Michael Kelly, highly regarded as a song recitalist, sang an aristocratic
— if dissolute — Count Almaviva, while Lauren Snouffer was
thoroughly engaging as his illegitimate daughter Florestine.
Major credit for the success of Aspen’s Ghosts goes, however,
to Michael Christie, who conducted both the St. Louis and Wexford performances
of the revised score. Still in his mid-’30s Christie, now music director
of the Phoenix Symphony, began his career as assistant to Franz Welser-Möst at
the Zurich Opera. Earlier in the summer he identified himself as a future
Wagnerian of promise in a concert with Jane Eaglen at the Colorado Music
Festival in Boulder.
Conducting an orchestra that overflowed into the Wheeler Green Room,
Christie’s total command of the score was impressive; he further showed
that rare balance of concern for both singers and ensemble under his command.
Handsome — and ghost-like — sets were by John Kasarda; lavish
period costumes were the work of Marina Reti.
Finally, Ghosts could profit from further reduction. If excised,
the entire scene built around Samira, the hoochie-cochie dancer at the Turkish
embassy bash, would not be missed — even if this was the role on which
Marilyn Horne squandered her talent at the Met.