Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
29 Sep 2010
Faust by ENO
Perhaps because the rather stolidly Victorian character of both its music
and its morality, Gounod’s Faust has been out of fashion in the
UK in recent decades, and owes a debt to David McVicar and his darkly Gothic
production for the Royal Opera in 2004 (now, at last, available on DVD) for the
restoration of its footing in the standard repertoire.
ENO has entrusted its new production to Des McAnuff, best-known in London
for the musical Jersey Boys which is currently enjoying a long run at the
Prince Edward Theatre. The only toe he has thus far dipped in the operatic
water was a production of Wozzeck in San Diego last year — not a
piece that would come automatically to mind for a novice opera director. An
eclectic history, promising more than some of the guest directors engaged by
ENO in the recent past. McAnuff fixes the starting point of the opera in a WW2
atomic bomb laboratory. It is easy to believe how an ageing scientist would be
left feeling unfulfilled after devoting his life and career to an inherently
cold-blooded and inhuman vocation.
Faust’s reversion to youth appears to take him back to the early days
of WW1 — though a few obviously intentional anachronisms make the period
somewhat indistinct — and initially it is a romanticised vision of jolly
carousing soldiers with their girls in dirndl skirts and flouncy blouses. The
love scene is idealised even further, with intense coloured lighting, and
flowers appearing to spring up at will on the projected backdrop. From that
point forwards the scales start to fall from Faust’s eyes and time seems
to be sped up; the colour is blanched from the scene, Marguerite seems to age
several years in the few months that elapse between Acts 3 and 4, and even more
between then and the final scene. The perky soldiers of the Act 2 tavern scene
are almost unrecognisable when they return from duty, old and bent and going
crazy with shell-shock.
Melody Moore and Iain Paterson
In the title role, Toby Spence was a revelation. His attractive stage
presence, clarity of delivery and impeccable diction have never been in
question, but Faust is a fuller lyric role than Spence has been used to, and I
feared his voice may simply be swamped by the orchestra or vanish into the
further reaches of the Coliseum’s vast auditorium. But in the event, the
fullness of his sound at the very beginning had me worried that he might be
over-singing, and I was relieved when the sound seemed to settle down, easily
big enough for the occasion but retaining his trademark bright, youthful sound,
right up to a splendidly confident high C in ‘Salut, demeure’. It
is not the most flexible or nuanced sound, nor does it sound French —
I’m not sure it’s possible to when singing in English translation
— but it was confident, romantic and hugely enjoyable.
Iain Paterson was a congenial Mephistopheles, more gentleman than devil I
felt, and he’s got the stage presence for the role. Although his lowest
notes lack power (he’s a bass-baritone rather than a bass) he turned in
an exceptionally stylish vocal performance.
Melody Moore and Toby Spence
The American soprano Melody Moore made a disappointing first impression as
Marguerite (rendered in the surtitles as Margarita, though the principals
seemed to be approximating the French pronunciation); there is something
invulnerable and unyielding about her vocal quality which makes her difficult
to engage with, and she made hard work of the Jewel Song. She did come into her
own in the final scene, where the same qualities that had earlier been
frustrating made for an effectively steadfast ‘Anges purs’.
Benedict Nelson’s Valentin was secure and simply effective in
‘Avant de quitter ces lieux’, and Anna Grevelius’s charmingly
androgynous Siebel was beautifully-sung.
Iain Paterson and Pamela Helen Stephen
Ed Gardner struck the right balance with the score, neither too heavy-handed
in the rhythmic numbers nor too over-indulgent in the lyrical ones. Only
‘Le veau d’or’ didn’t quite have the drive to take
McAnuff’s production worked for me for the most part, though it was
disappointing that he opted to cut the Walpurgisnacht ballet altogether —
all that remained of the scene was an episode in which Mephistopheles shows
Faust a group of tortured souls writhing round a table. If going down the
historically-informed opera ballet route doesn’t appeal (and frankly, why
would it?) surely the ballet is the greatest opportunity for a director and his
choreographer to add to the audience’s understanding, or to crystallize
their production concept in the form of a vignette?
At the end, with Marguerite redeemed and Faust dragged down by
Mephistopheles through a Don Giovanni-style trapdoor, we see the elderly Faust
appearing in his laboratory, collapsing after apparently having drained the cup
of poison from the start of the opera. Was his whole adventure into youth and
corruption, then, just the hallucination of a poisoned and dying man? The
elixir of youth to which Mephistopheles transforms Faust’s deadly draught
is poison of one sort or another, whether its effect be physical or moral, and
either way, Faust ends up back where he started.
Ruth Elleson © 2010