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This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
06 Aug 2010
Prom 21 — Berlioz and Wagner
Period instruments and nineteenth-century grand opera are seldom found on the same stage — or even the same sentence — but as adventurous practitioners increasingly experiment in the repertoire of the late-nineteenth and early-twentieth centuries, it’s a sight and sound that will inevitably become more familiar.
And, that’s no bad thing. This concert, the first of Sir Simon
Rattle’s three Prom appearances this season, offered the opportunity to
hear two great romantic scores performed on contemporary instruments and if the
results of the lower pitch and the full, mellow tone of the OAE were not always
wholly successful in the dramatic contexts, they were certainly
thought-provoking and at times illuminating.
While the decision to present classic dramas of love and death by two
cultural giants, Shakespeare and Wagner, seemed a natural and sensible one, it
led to a slightly unbalanced programme, with the erotic love scene of
Berlioz’s dramatic symphony, Romeo and Juliet, forming a first half
lasting only 18 minutes — even in this rather slow reading by Rattle.
Berlioz’s vast structure and forces — nine double basses towered
over the centre of the platform — were shaped and guided with finesse by
Rattle, who was ever alert to the composer’s startling harmonic effects.
However, despite the use of copies of nineteenth-century woodwind instruments
(for example, the oboes played on models of German instruments c.1865, with an
easy, soft lower register; the bassoons employed French instruments c.1840 for
the Berlioz, switching to German post-1870 for the Wagner, the latter
possessing a darker, less reedy tone which blends well with the horns and
clarinets), the sharp individuality of particular instrumental lines was
somewhat softened, woodwind colours blending sweetly with the whole but not
always delivering their full dramatic impact.
A similar problem was apparent after the interval, in Act 2 of
Wagner’s Tristan und Isolde, where the harmonious whole was
achieved at the expense of orchestral incisiveness. Wagner aimed for a unity of
instrumental and vocal lines, with the symphonic leitmotivic texture carrying
the burden of the emotional and dramatic narrative, in dialogue with
declamatory and naturalistic vocal melodies; but here the wash of orchestral
sound served primarily as a secure, relaxed back-drop to the singers, who were
therefore pushed to the foreground. Adding the fact that this was a concert
performance, with no scenery and little dramatic interaction between the
soloists, this was hardly the Gesamkunstwerk of Wagner’s
That said, the concordant orchestral cushion elicited by Rattle did evoke a
sense of ‘distance’, and an appropriately ethereal atmosphere, for
Tristan’s and Isolde’s desire can never be fulfilled in this world
and release from yearning will only be achieved through transcendence.
Moreover, particular instrumental effects were not neglected, and the rich
palette of the period orchestra was revealed: the off-stage horns signalling
the departure of the hunting party were strident and clamorous, while eerie sul
ponticello playing by the strings conveyed both the delicacy of the moment and
the anxious vulnerability of the lovers. Low woodwind colours intimated the
shift from the daylight world to the realms of night, from the mundane to the
oblivion of the sub-conscious.
With two renowned Wagnerian specialists in the cast, expectations were high,
and it was no surprise that the quality of the singing invested this
performance with vigour and compelling drama. Violeta Urmana, as Isolde, had no
difficulty filling the vast space of the Royal Albert Hall, her powerful,
impassioned soprano always secure and focused, her tone thrillingly ecstatic.
Sadly, Ben Heppner’s Tristan was less assured and rather inconsistent.
While there is no doubting his innate appreciation of this musical language,
there were more than a few wobbles, as he struggled to project. Yet, the
exquisite sound for which he is renowned can still genuinely reveal
Tristan’s exaltation. Franz-Josef Selig negotiated King Mark’s long
monologue with confidence and clarity, conveying both the authority and stature
of the betrayed King and the pain caused by Tristan’s disloyalty. Sarah
Connolly communicated Brangäne’s distress thoughtfully, with controlled
phrasing and delivery. Timothy Robinson (Melot) and Henk Neven (Kurvenal)
completed the accomplished cast.
Overall this was a thoughtful and refined performance. But while these two
passionate romantic encounters certainly touched the heart they did not,
perhaps, quite reach to the soul.