Recently in Performances
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.
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 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.
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.
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.
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.
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.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
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 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.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
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.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
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.