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Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.
Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.
Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
24 Oct 2010
Il Postino at Los Angeles Opera
An American opera house premieres a new work by a Mexico-born composer, to his own libretto in Spanish based on a film in Italian by an English director about an unlikely friendship the Chilean poet Pablo Neruda found when in exile on a small Italian island.
Such wonderfully polyglot origins promise a more original and creative opera that Daniel Catán’s Il Postino turns out to be (Catán chose to keep the original Italian title). However, with Placido Domingo’s starpower and an endearing portrayal of the title character by Charles Castronovo, the Los Angeles Opera audience on the second night of the opera’s premiere run found much to applaud.
Catán is best known for Florencia en el Amazonas, his 1996 work that has enjoyed a fair number of performances since its debut, although a house as prestigious as the Metropolitan Opera, for example, seems to have no interest. Reviews of Catán’s music for his latest work still rely on comparisons to more famous composers for reference. The strongest element of Il Postino’s score is rhythmic; Catán often employs unusual meters and phrasing that give a sort of stutter-step feel to some of the music. His orchestration is colorful, if somewhat reliant on string outpourings at moment of dramatic and romantic effusion. Somehow he manages the trick of writing music with a melodic tinge without actually creating any strong melodic ideas. An impassioned rising motif that slowly resolves to the tonic pops up fairly frequently in the score, especially in the music for Mario Ruoppolo, the title character. Unfortunately, this one bit really does sound like Puccini - specifically, like a phrase from the score for La Rondine. Other than that, it’s wrong to call Catán’s music Puccini-esque - Catán has neither the melodic facility or grasp of using music to push the drama forward, rather than merely underscore it. If comparisons must be made, your reviewer heard a fair amount of Copland-like dance rhythms and sparse but attractive harmonies.
But his music is stronger than his libretto. The first two acts were given without intermission, and Catán chose to follow a screenplay’s quick changing scene formulation. So first we meet Mario at his humble home, and then from backstage a simple set rolls out depicting Neruda’s home in exile. This happened over and over, while a rather banal love story for Mario and a superfluous subplot about a corrupt politician and the island’s water supply interrupt the growing bond between the famous poet and his naive but charming postman. The last act’s storytelling really gets crude, with Vladimir Chernov’s Giorgio running on every couple minutes with some news about Neruda’s travels away from the island, and even a couple of awkward news-reel interpolations.
Still, by the time of the final scene, some emotional weight has been earned, and when the regretful Neruda is joined on stage by Mario (even though the character has died off stage at this point), most any viewer will be moved. Catán’s music is also at its best here - he stops trying to force a climax and lets the gentle story end with some lovely soft singing from the two male leads.
Domingo was excellent in the role of Neruda, although the lower part of his voice was surprisingly weak, given his recent forays into baritone territory. Catán gives all the main characters aria-like moments, and Domingo’s Neruda starts off with a hymn to his wife’s naked body. In fact, Neruda in the opera comes off as more than a bit self-involved and self-pleased, making Mario’s affection for the famous older man seem just a bit odd and obsessive. Nonetheless, Charles Castronovo, light-voiced though he may be, made his simple, love-besotted postman a real figure. The original casting had set Rolando Villazon for the role, who might well have covered the character's pathos with on-stage hi-jinks. As Mario’s love interest Beatrice, Amanda Squitieri sang out, sometimes covering her tenor co-star. Her opening aria, a self-introduction, is one of Catán’s weaker moments - dramatically inept and unmemorable musically. Cristina Gallardo-Domas has little to do as Neruda’s wife, and Nancy Fabiola-Herrera, as Beatrice’s gun-toting mama, got a few laughs.
Amanda Squitieri as Beatrice and Charles Castronovo as Mario Ruoppolo
Conductor Grant Gershon managed the trickier rhythms of the score well. Director Ron Daniels couldn’t do much to ameliorate the wearing effect of the frequent scene changes, but he did elicit strong acting performances from the singers. Riccardo Hernandez created some nice costumes, but Los Angeles Opera’s budget restraints didn’t give him much to work with. In act three the budget seems to have run out altogether; other than a ridiculous set of pipes for the promised water system, the act mostly plays out on a bare stage, with some unimpressive projections and newsreel footage (designed by Philip Bussmann).
If Domingo chooses to, he can take Il Postino around the world to some of the more prestigious opera houses. It’s certainly a pleasant show, even a crowd-pleaser. But the opera’s long-term prospects don’t seem any more promising than those, say, of the U.S. Postal Service.