Recently in Performances
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
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).
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.
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.
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.
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.
11 Aug 2010
Rossini’s Mosè in Egitto at Chicago Opera Theater
Although productions of Gioachino Rossini’s Mosè in Egitto
are infrequent, the lively debate on successive versions of the work has
generally led to questions of priority and to informative discussions on
For the first opera during its Spring 2010 season Chicago
Opera Theater staged a production based on the new critical edition of
Mosè by Charles S. and Patricia B. Brauner. As Philip M. Gossett
indicates in his notes accompanying the program for this production, the
Italian Mosè, originally performed in Naples, “is a work of
great value” which “contains some of Rossini’s finest
music.” The present production, with strong vocal contributions from a
convincing cast, gave ample support to these statements.
Under the direction of Leonardo Vordoni the brief orchestral prelude set a
tone both stately and somber, in which the distraught court of the Pharaoh and
the plight of Moses and his people are alternately depicted. Darkness has
fallen over the land, and Faraone determines to free the camp of Moses in order
to release Egypt from such a plague. When he sends for Moses and makes known
his intention, the captive leader calls out to God and, with the gesture of his
staff, causes light to return to the land. The two opposing leaders were sung
by bass-baritone Tom Corbell as Faraone and bass Andrea Concetti as Mosè. Mr.
Corbell showed admirable facility in his delivery of rapid notes whereas Mr.
Concetti struck an imposing figure with declamatory weight in his delivery of
Mosè’s opening lines. In the ensemble showing varied reactions to this
change, brought about by Mosè, Faraone and his consort Amaltea are joined by
the Egyptian heir and Prince Osiride along with Aronne, the compatriot of Mosè.
Faraone declares that the Hebrews will, in return for this gesture, be set free
and Amaltea supports the decision. Corbell as Faraone was joined in his florid
statement with the equally challenging line composed for Amaltea, here sung
admirably by Kathryn Leemhuis, a member of the Ryan Opera Center at Lyric Opera
of Chicago. Leemhuis gave a strong individual impression in her careful
decoration yet blended with the others to yield a memorable and dramatic
ensemble. The final lead member featured in this group was the Osiride of
Taylor Stayton. Mr. Stayton shows great promise as a tenor able to project with
dramatic lyricism the challenging dramatic line featured in this and comparable
pieces by Rossini. Here Osiride expresses his disagreement concerning the
release of the Hebrews, since his secret beloved Elcia is one of the people of
Mosè, now scheduled to depart in freedom.
After the others leave, Osiride plots with the high priest Mambre and
suggests that the latter use his powers to sow discord once again between Mosè
and Faraone. Elcia now joins her lover Osiride in order to bid farewell as she
expects to leave Egypt with Mosè. In their moving duet Siân Davies sang the
part of Elcia with great urgency and proved to be an appropriate match for Mr.
Stayton’s compelling depiction of the Egyptian prince. Upon the exciting
conclusion to their duet, Amaltea appears and chides Mambre for his attempts to
dissuade Faraone from releasing the Hebrews. Her words go unheeded, for
Osiride’s plan has succeeded, Faraone declares his decision revoked, and
the Hebrews feel themselves betrayed. At the close of the act Mosè invites
further storms to fall upon the land of Egypt.
Taylor Stayton as Osiride
After an intermission, Acts II and III were performed without pause in this
production by Chicago Opera Theater. Attempts to resolve the imprisonment of
the Hebrews are fueled by Amaltea’s independent negotiations with Mosè.
At the same time Faraone resolves to marry off Osiride to an Armenian princess
and to proclaim him co-ruler of Egypt. The dismay of Osiride was expressed in
Stayton’s fervent delivery, in which he maintained hopes still to retain
Elcia’s love. When the latter enters among the imprisoned Hebrews, she
advised Osiride to seek an equivalent love in his official betrothed. Ms.
Davies’ moving expressiveness and exquisitely secure pitch in this aria
remained one of the highlights of the performance. Osiride then threatens
violence to Mosè but he is, instead, struck dead by a lightning bolt; as the
act concludes, both Faraone and Elcia mourn his loss.
Jorge Prego as Aronne, Andrea Concetti as Moses and Siân Davies as Elcia with the Israelites
In the brief Act III on the banks of the Red Sea the famous prayer delivered
by Mosè calms his people, who fear that they will be sacrificed to the anger of
Faraone’s troops. Elcia is encouraged to continue her journey with the
other Hebrews. In this Mr. Concetti as Mosè delivered a fervent declamation in
the concluding piece of the opera. The Red Sea parts and his people cross, just
as Faraone and the high priest are swallowed up as they attempt to pursue. The
dramatic moment received an appropriately conclusive orchestral flourish.