Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
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.
10 Aug 2010
Middle Ages Next to Come
According to Paulus Diaconus’ Historia Langobardorum, both
Lombard sovereigns warring for supremacy in late 7th-century Italy — the
legitimate king Perctarit and Grimuald the usurper — behaved rather fairly to
each other and their families.
Above all, there is no evidence that they would
compete for queen Rodelinda, who instead was exiled to Benevento with her
little son Cunincpert and lived peacefully there until Perctarit, after finally
recovering the throne, summoned her back to the kingdom’s capital
Turning into melodrama characters those practical barbarians, more
interested in power than in romance or bloody vengeance, was the endeavor of
such Baroque playwrights as the French Pierre Corneille and the Florentine
Antonio Salvi. The latter’s 1710 libretto for Giacomo Antonio Perti
(Rodelinda, regina de’ Longobardi), drastically pruned by Nicola
Haym for the London stage, was set to music by Handel in 1725. It immediately
proved a resounding success, also thanks to a cast including soprano Francesca
Cuzzoni in the title role, the legendary Senesino as Bertarido, and some of the
best singers available in the side-roles: tenor Francesco Borosini, bass
Giuseppe Maria Boschi, and alto castrato Andrea Pacini.
Franco Fagioli as Bertarido [Photo by Laera]
The present staging in Martina Franca, a festival traditionally claiming to
“authentic” performing practice, plunged the romanticized
18th-century music drama back into the darkest Middle Ages, or into a
“Middle Ages next-to-come”, as phrased by director Rosetta Cucchi.
At least visually, through the combination of muddy and disheveled landscapes
with costumes (by Claudia Pernigotti) featuring leather, rags, metal
decorations, and heavy-duty boots. Entertaining enough, but how much
“authentic” is questionable, if only one checks Senesino’s
portrait as Bertarido in the flamboyant livery of a Hungarian haiduk,
as painted by John Vanderbank in 1725. At the most, this is
Regietheater that dare not speak its name, a compromise likely to
dissatisfy modernists and authenticists alike.
The show’s musical side was far more convincing, with the Swiss
conductor Diego Fasolis succeeding to elicit from the festival orchestra
— equipped with modern instruments plus harpsichord, theorbo and Baroque
flute — a sound that was both luscious and historically informed. Within
an evenly balanced company, the Argentinean alto Franco Fagioli (Bertarido)
towered for projection, agility, seamless transition between registers,
unfailing musicianship. His manly color and stage charisma may set a new
standard among countertenors. As Rodelinda, mezzo Sonia Ganassi tended to
underact throughout and suffered some strain in the upper register. For her
convenience, a couple of high pitches were transposed an octave lower, and her
whole climactic aria “Ombre, piante” was set in G minor instead of
the original B minor. Nevertheless, she sang with an elegant restraint hitherto
unnoticed in her main repertoire, stretching from Rossini and Donizetti to
Her sister-in-fiction Eduige (the established Baroque specialist Marina De
Liso) outplayed her as to style awareness, consistently unfolding hot
temperament and fanciful coloratura. On the contrary, both the villain
Grimoaldo (Paolo Fanale) and the arch-villain Garibaldo (Gezim Myshketa) were
absolute beginners in the field of early opera, yet delivered their fast runs
and stalking utterances pretty nicely. A further pleasant surprise was the male
alto Antonio Giovannini, who lent the loyal Unulfo mellow color, tasteful
da capos and lots of acting stamina, particularly in the alternative
E-minor version of “Sono i colpi della sorte” after the Hallische
To many affectionate Handelians, the opportunity to hear this and some more
passages restored to the composer’s final intentions was a novelty. Yet
the claim of a “world premiere in Andrew V. Jones’ critical
edition” is mere pressroom hype. The actual premiere with HHA material
before official publication was in Glyndebourne 1998, followed by the Göttingen
Händel-Festspiele in 2000 and sundry houses worldwide. Anyway, the new artistic
manager in Martina Franca, Mr. Alberto Triola, can rightfully boast for
bringing to attention a dramatic masterpiece which, despite its Italian
subject, was hitherto neglected by the major opera theaters in Italy.