Recently in Performances
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
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.
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.
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.