Recently in Performances
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
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.