Recently in Performances
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.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
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.
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.