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.
27 Oct 2010
Piotr Beczala: Roméo et Juliette, Royal Opera
Charles Gounod’s Roméo et Juliette is almost more musical than opera. Everyone knows the story, and it would be hard to compete with Shakespeare. Gounod wisely focused on music, rather than drama.
Hence the reputation of this opera has rested on its showpiece arias, and on
good performances. Piotr Beczala defined this production at the Royal Opera
House, London with an excellent Roméo, well shaped vocally and expressively
full of character.
Piotr Beczala as Roméo
Beczala is relatively new to Roméo, having created it at Salzburg in 2008,
and again in August 2010. Nino Machaidze sang Juliette at Salzburg this year
too, at later stages of the run, which started with Anna Netrebko and Beczala.
Pairing Beczala and Machaidze for the London production was an inspired choice.
Although the productions in Salzburg and London are completely different,
Beczala and Machaidze carried over what they’d built previously.
The London production is Stephen Barlow’s revival of Nicholas
Joel’s production, revived only for the second time since 1994.The sets
are like picture postcards, and the pace of movement staid, almost unnatural.
It’s worrying when the most vivid scenes are choreographed by the Fight
Director, Philip Stafford. Admittedly, Gounod’s treatment of Roméo et
Juliette doesn’t lend itself to intellectual depth, but fortunately
Beczala amd Machaidze injected enthusiasm into the production.
Nino Machaidze as Juliette
Beczala’s Roméo defined the performance. Excellent pitch control,
luscious timbre. A wonderful and deeply expressive “L’ amour, oui,
son ardeur a troublé tout mon être!”. The love duets were beautiful, even
if Beczala overshadowed Machaidze’s Juliette. Still, that’s not
surprising, as he’s just more experienced. With Netrebko he must have
been superb. In the last act, Beczala’s “Salut, tombeau sombre et
silencieux!,” was well modulated, emotionally profound. marred very
slightly when he had to turn backwards, projecting sound awry. I loved
Beczala’s Shepherd in Szymanowski’s Król Roger and enjoyed
hearing him develop over the years. Romantic Heroes are now his forte, but he
has the depth, I think, to eventually tackle Heldentenor territory.
Alfie Boe as Tybalt
Machaidze looks like Olivia Hussey in Franco Zeffirelli’s 1968 film of Romeo and Juliet, which adds piquancy to her portrayal. Her voice is light and agile, the brightness of her timbre expressing Juliette’s youthful innocence, her firm lower register expressing the wilder parts of Juliette’s character. Like many 14 year olds, Juliette does extremes, as Shakespeare observed. Machaidze may not have the polish of many much more famous and experienced singers but she’s convincing
enough. When she sings of waking too soon, holding Tybalt’s bloodstained hand, she sings with such fervour that you realize that this Juliette knows what risks she’s taking. Sweet as she is, Machaidze’s Juliette has a brain.
Good performance standards all round. Darren Jeffrey as Capulet towers
physically over the other players, which is as well, for Gounod develops the
part well. Vitalij Kowaljow’s Frère Laurent was also notable and Stéphane
Degout as Mercutio.
Ketevan Kemoklidze’s Stéphano, Roméo’s Page, makes a delightful
impression in the song about doves and vultures, but artistically the vignette
Alfie Boe as Tybalt received prolonged applause which he acknowledged as if
he were a principal. He has a huge following because he does popular song but
that adulation might be his undoing. Not long ago a fan complained when he was
unwell and couldn’t adequately be replaced. That kind of audience
isn’t into opera as such, but in chasing celebrity.
Piotr Beczala as Roméo and Nino Machaidze as Juliette
Gounod’s choruses are justly celebrated and the Royal Opera House
chorus responded well. Here they were directed to maximum advantage, and as
usual, their performance was well executed.
For more information, please see the Royal Opera House