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It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.
Based on a play, Chrysomania (The Passion for Money), by
the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.
18 Aug 2010
Mozart and Rossini Finales at Grant Park, Chicago
During a recent concert at the Grant Park Music Festival, held on this
occasion in the adjacent Harris Theater, members of the Ryan Opera Center of
Lyric Opera of Chicago presented ensembles from four operas, two each by Mozart
and by Rossini.
The finales from Act I of Rossini’s La
Cenerentola and Act II of Don Giovanni were featured in the fist
half of the program; after intermission, the finales from Act I of
L’Italiana in Algeri and Act II of Le Nozze di Figaro
concluded the program. Carlos Kalmar conducted the Grant Park Orchestra.
Already in the first ensemble from La Cenerentola a strong impression was
made by the individual voices and their abilities to interact in the collective
spirit of the composition. Tenor René Barbera and baritone Paul La Rosa began
the famous “Zitto, zitto: piano, piano” [“Hush, hush: softly,
softly”] as the characters Don Ramiro and Dandini evaluate
Cinderella’s step-sisters. Both men showed appropriate dramatic
sensitivity, just as the sisters Clorinda and Tisbe, sung by Jennifer Jakob and
Katherine Lerner, entered with their frenetic appeals and comments. Ms. Jakob
and Ms. Lerner acted well with their accomplished voices, with the others all
leading to an announcement by Alidoro that a “dama incognita”
[“an unknown woman”] had arrived at the festivity. In the role of
Alidoro, Evan Boyer displayed a sonorous and eloquent bass-baritone voice which
he used to good effect in this important role. Attention then centered on the
Cenerentola of Emily Fons, who entered the stage with both lyrical and physical
grace. As her presence increased, Ms. Fons enhanced the impression she gave
with an assured vocal technique and a mezzo-soprano range with an upper
extension equal to the demands of so many female Rossinian lead roles. Her
decorations on “Sprezzo” [“I scorn”] and
“rispetto” [“respect”] were impeccable and sung with a
florid and clearly traced line. Don Ramiro’s reaction to the unknown
woman led to a well-rehearsed conclusion in which all delivered their
impressions of confused gaiety.
In the finale from Don Giovanni several of the above singers were
joined by additional members of the Ryan Center. After a bright orchestral
introduction under Kalmar’s direction Mr. La Rosa gave a lyrical and
confident assumption of the role of Don Giovanni. His Leporello was sung by Sam
Handley, whose deeper and equally well-schooled bass-baritone made him a
believable foil to the Don. Ms. Fons took on the role of Donna Elvira with
superbly dramatic top notes in her fervent appeals; Amanda Majeski sang Donna
Anna with an exquisite sense of pitch and believable dramatic poise, both
qualities so vital to the wronged noblewoman. Craig Irvin gave solid and even
intonation to the role of the statue, and Ms. Jakob was a sprightly, memorable
In the second half of the program several singers shifted to leading roles
in the excerpt from L’Italiana in Algeri. Ms. Lerner delighted
as Isabella with her combination of acting and descent to a lower register,
while Ms. Fons and Ms. Jakob sang smaller yet important roles contributing to
the atmosphere of the Eastern court where Isabella, the Italiana, is captive.
Perhaps most impressive in this scene was Mr. Handley’s fluid, seamless
approach to the bass role of the Mustafá. So often taken simply as a comic
part, it is refreshing to hear a truly fine, young basso cantante give
lyrical expression to the ruler’s yearnings. The onomatopoetic conclusion
received a dramatically disciplined and comic touch.
The final selection from Act II of Le Nozze di Figaro featured Mr.
La Rosa as the Count and Ms. Majeski as the Countess. Both sang committed,
believable performances as the noble couple caught in their own
misunderstandings and comic, marital deceptions. The supporting characters,
especially the Susanna of Ms. Jakob, lent a sense of collective confusion in
the spirit of Mozart’s delightful ensemble writing. The Grant Park Music
Festival is to be commended for showcasing the talents of these performers who
have distinguished themselves in such a variety of operatic roles.