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.
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