Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Christine Goerke - Strauss Elektra BBC Proms 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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Christine Goerke - Strauss Elektra BBC Proms 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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

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.

Nina Stemme's stunning Strauss Salome, BBC Proms London

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

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

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!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

OPERA TODAY ARCHIVES »

Performances

Sketch of Figaro by Marina Reti courtesy of the Aspen Opera Theater Center
15 Aug 2010

Michael Christie conducts Corigliano in Aspen

Michael Christie, now 34, was too young to see John Corigliano’s Ghosts of Versailles when it was new at the Metropolitan Opera in 1991.

John Corigliano: Ghosts of Versailles

Above: Sketch of Figaro by Marina Reti courtesy of the Aspen Opera Theater Center

 

Yet he was the obvious choice to conduct the world premiere of the revised version of the work at St. Louis Opera Theater in 2009.

“To celebrate John’s 70th birthday I had done a Corigliano festival with the Brooklyn Philharmonic,” says Christie, who then took James Robinson’s St. Louis production to Ireland to open the new opera house at Wexford. “I had worked with him; I knew his style and I knew his sounds. “Conducting Ghosts was a natural next step.”

This week Christie is on the podium for an all-new staging of the revised version by the Aspen Opera Theater Center, the music-theater wing of the Aspen Music Festival and School. “I’ve now lived with Ghosts for a year,” says the conductor, who has just wound up his 10th season as music director of the Colorado Music Festival in Boulder. “I’m totally at home with the score.”

In addition to that, Christie loves it. “I’ve watched the video of the Met production,” he says. “It’s all about stars Teresa Stratas and Marilyn Horne. “Now John has really tidied things up and made a true opera of it.” Nonetheless, Christie will be working with 60 singers on stage and an orchestra so large that it spill over into the Green Room of Aspen’s historic, 500-seat Wheeler Opera House. (With supers, the Met had 300 on stage for the original production.)

Christie further feels that the revision — it was done by John David Earnest with input from Corigliano — refines the lines of the opera-within-an-opera. “It’s now two acts instead of three and half an hour shorter than the original,” he says. “It holds together much better.”

Central figure of the outer story is Marie Antoinette, who 200 years after she was beheaded in the French Revolution, wants to return to life. The story then moves back to 1793 and offers a hilarious picture of the Almaviva family, familiar to all from Mozart’s Marriage of Figaro. Instead of re-writing the story Mozart’s librettist, Pierre Beaumarchais and the late Empress fall in love.

“Laughter threatens to drown out the music in Act One,” Christie says, “but then comes the love story, and the opera has a very serious side. “Much of it is breathtakingly beautiful!” Although it’s wrong to see the score as “Mozartian,” Mozart, he says, is everywhere in it.

In mid-summer Christie spent three days in Aspen rehearsing singers. “It’s a different ‘take’ on opera,” he says. “Corigliano’s vocabulary is very specific, yet he leaves the orchestra quite free — almost improvisational at times.” In Ghosts the orchestra, he explains, is at the service of what is on stage. It’s up to the conductor to keep the singers moving and to keep the orchestra with them. “It’s an usual role for a conductor,” he says. “If you’re used to being in charge, this opera is not for you.”

Christie focused on opera at the outset of his career, having served for three years as assistant to Franz Welser-Möst in Zurich. With Ghosts he returns to the pit with performances of Verdi’s Traviata and Wuthering Heights by Hollywood master Bernard Hermann at Minnesota Opera. In 2011 he returns to St. Louis to conduct John Adams’ Death of Klinghoffer.

Edward Berkeley, his Juilliard mentor who has directed the Aspen Opera Center for three decades, has built the summer season around the figure of Figaro. Ghosts was preceded by Rossini’s Barber of Seville and Mozart’s Marriage of Figaro. “Ghosts fits a festival well,” say Berkeley, who directs the production “and in this context it gives students a look at how different composers treat the same group of characters.” “It gives our audience a chance to compare how they have used the same material.” He calls Corigliano “very skilled.” “He’s taken these characters beyond Beaumarchais and added his own layer to the story,” he says. He is awed by the dimensions even of the revised score. “It’s an enormous work,” he says. “It may be the biggest thing we’ve ever tried.”

Michael Christie as conductor was for Berkeley “a natural choice.” “I knew his work in Brooklyn,” he says. “He was widely praised for his mastery of Ghosts in St. Louis and Ireland.” Earlier in the summer Christie proved himself a Wagnerian of great promise with a Colorado Music Festival program that featured veteran soprano Jane Eaglen in the “Liebestod” from Tristan and the “Immolation scene” that concludes Götterdämmerung.

John Corigliano based Ghosts largely on The Guilty Mother, the third part of Beaumarchais’s Figaro trilogy. Sets for the production are by John Kasarda; costumes by Marina Reti.

John Corigliano’s Ghost of Versailles is on stage in Aspen’s Wheeler Opera House at 7 p.m. on August 19 and 21. For information and tickets at $25 to $50, call 1-970-925-9042 or www.aspenmusicfestival.com.

Wes Blomster

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):