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Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
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.