Recently in Performances
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.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.