Recently in Performances
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
Director Richard Jones never met an opera he couldn’t ‘change,’ and Canadian Opera Company’s sumptuously sung Ariodante was a case in point.
I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
Canadian Opera Company has assembled a commendable Norma that is long on ritual imagery and war machinery.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
13 Oct 2010
Verdi’s Macbeth in a New Production at Lyric Opera of Chicago
A successful production of Verdi’s Macbeth relies not only on
incisive vocal characterization as projected by Macbeth and Lady Macbeth but
also on the interaction of these lead figures in order to vivify their descent
into a world of destruction.
On these two counts Lyric Opera of Chicago’s
new conception of Macbeth scores a significant triumph. Under the
stage direction of Barbara Gaines, founder and artistic director of the Chicago
Shakespeare Theater, this new production is conceived as alternately expansive
and restricting, thus highlighting the ambitions and emotional as well as
political collapse of the royal couple’s murderous plans. In the title
role Thomas Hampson gives a multi-faceted depiction of this complex character,
his acting and singing coalescing into a strong and individual interpretation.
All other leading roles in this production are very well cast by international
artists making their debuts this season at Lyric Opera: Nadja Michael as Lady
Macbeth, Štefan Kocán as Banquo, Leonardo Capalbo as Macduff, Konstantin
Stepanov as Malcolm, and Carter Scott as both Lady Banquo and the Lady in
Waiting. The Lyric Opera Orchestra is led by Renato Palumbo and Donald Nally
directs the generous contributions of the Lyric Opera Chorus.
Thomas Hampson as Macbeth
Before the overture begins the stage is sheathed by a cover approximating
armor, at the base of which is depicted a stylized forest with soldiers. The
brief overture under Palumbo’s direction showed sensitive attention to
tempo and orchestral colors with brief pauses and transitions well integrated
into the whole. At its close the stage covering opens at center to reveal the
simulated shooting flames of golden fire surrounded by a large chorus of hags.
Suspended above them and careening through the air are three witches who join
with the other groups below to recount their supernatural activities. At the
sound of drums Macbeth and Banco enter and demand that the witches identify
themselves. In answer they hail Macbeth, in succession, “di Caudor
sire” and “di Scozia re.” As Macbeth, Mr. Hampson declaimed
from the start in full voice while demanding a greeting from the witches. In
the role of his fellow general Banco Mr. Kocán layered his resonant voice with
dramatic effect, his diction showing an equally incisive understanding of
Verdi’s textual import. In their duet as a response to the first of the
witches’ predictions being realized both singers followed an effective
vocal line yet each differentiated the same in technical delivery. Hampson
moved impressively from piano to full dramatic voice, while Kocán used
a striking bel canto approach within a seamless and well projected
vocal range. As the pair departs and the chorus of witches predicts
Macbeth’s return [“Fuggiam, fuggiam!” (“Hasten away,
hasten!”)], the sets retract to show Lady Macbeth simultaneously in their
castle already reading Macbeth’s letter. This fluid transition connects
the two scenes directly, so that the Lady’s reaction gains immediacy upon
Macbeth’s revelation. In her pronouncements after a chilling recitation
of the letter Nadja Michael reveals a dramatically forceful delivery in which
she urges Macbeth to take courage and seize the opportunity of the moment. Ms.
Michael’s approach to this and subsequent scenes relies on several points
of vocal focus which she alternates with expressive transitions in order to
communicate a range of emotions. Her invocation of the spirits of the
underworld [“Ministri infernali”] to lend their evil support is
performed as several voices blending into one with softer downward runs
suggesting her own spiritual descent. During the aria Ms. Michael placed lit
candles about the room in a circle suggesting a further hope to ally herself
with demonic forces. Once Macbeth arrives with Duncan as guest, the couple
comes to agreement on the King’s fate in a mere several lines. In his
delivery of Macbeth’s soliloquy before the King’s chamber
Hampson’s excited emotions ascend to a crescendo as he intones the
self-convincing speech, his voice rising through the words
“assassino” (“murderer”) and culminating with dramatic
top notes on “Immobil terra!” (“Firm-set earth”). Once
the deed is declared done [“Tutto è finito”] Macbeth and the Lady
participate in a nervous exchange during which she takes a dominant role. Here
the voices of Hampson and Michael blended and alternately moved apart to
suggest their complex roles of dependency and revulsion. In the final scene of
this act Macduff and Banco enter to rouse the King and prepare him to journey
further. It is Macduff who discovers the murdered King and decries the vile
deed [“Orrore, orrore”]. Mr. Capalbo in a noteworthy debut sings
the role of Macduff with urgent, bright tones that command attention to his
honest pleas for the King’s memory. As everyone present sings in unison
to demand justice and counsel from God, Macbeth and the Lady join in condemning
the deed they have themselves committed.
Nadja Michael as Lady Macbeth
In Act II the royal couple descends to further iniquity with Lady Macbeth
taking the vocal lead in expressing complicity. Macbeth reminds her of the
predictions relating to Banco and the need to murder him in order to assure a
clear path to the throne. Lady Macbeth agrees in her haunting aria “La
luce langue” (“Light thickens”), which Michael sings with
understated hushed tones, capped by powerful high notes. As the scene changes
the assassins, who will kill Macbeth’s rival, position themselves on a
steep wall in a wooded park and practice their forthcoming attack. Their
pantomime is choreographed by the production team with dance-like movements
befitting the sprightly music composed by Verdi for the start of this scene.
Banco then arrives on the path with his son Fleanzio. Here the father issues
multiple warnings and speaks of his concern for safety and treachery. In his
major solo aria Kocán combined elegant legato phrasing in significant passages
[“sospetto” (“suspicion”)] with a rich tone culminating
in the convincingly delivered dramatic notes of “terror.” His son
is here whisked to safety by one of the suspended flying figures, returned from
Act I, as Banco succumbs to the assassins. The final scene of this act in the
banquet hall is staged with frenetic, drunken movements as King Macbeth is
confronted several times by the ghost of Banco. At the King’s urging the
Lady sings her toast “Si colmi il calice” (“Fill up the
cup”), interrupted repeatedly by Macbeth’s visions. In the faster
passagework of her aria Michael tended to sing sharp, an impression in
character on which she drew rather than giving steady, full voice to all
dramatic moments. The scene closes with the guests dismayed by their new
King’s mental abandon.
In the brief Act III Macbeth visits the witches again, the latter delivering
their seemingly impossible predictions for his defeat. In the orchestral
introduction Palumbo emphasized skillfully several themes from the earlier
overture, hence lending a sonic unity to the individual, collective scenes.
Hampson’s impressive confrontation and reaction in his vocal display made
use of forte singing that suggested a continued and desperate search.
After his address to the recurrent vision of Banco, Hampson modulated his voice
into an even, full line of returning courage that Lady Macbeth goads into
further deeds of violence. [“Ora di morte e di vendetta”
(“Hour of death and of vengeance”).
As Act IV begins the staging is redolent of suffering, calling out for the
pity of all who look upon this scene of the “Patria oppressa!”
(“Downtrodden county!”). Macduff proceeds from one group to another
at the start, as he then laments the murder of his family by Macbeth’s
forces. In his moving aria, “Ah, la paterna mano” (“Alas, a
father’s hand”) Capalbo shows himself as a true, Verdian lyric
tenor, with effortless and polished legato, secure top notes, and a skillful
placement of diminuendo. The scene remains one of several highlights
in the production. He is immediately joined by Malcolm as they plan to attack
the forces of Macbeth. Just as the two depart, Lady Macbeth is seen wandering
onto the stage, reminiscent of the technique used for her entrance during Act
I. Now she appears soiled, covered in blood, yet still holding a candle. The
sleepwalking scene is a true synthesis of Michael’s character
interpretation, her voice and acting joining into a specter of madness. In her
delusion she attempts to rouse Macbeth, who lays covered with a rag downstage
on the right. As he repulses her advances Michael sings with an effective blend
of dramatic force and extended piano notes while reliving their deeds of
violence. Her chilling conclusion on “il tuo pallor” (“your
pallor”) makes use of this technical shift in a final display of madness,
capped by a ghostly head note.
Thomas Hampson as Macbeth and Nadja Michael as Lady Macbeth
The final scenes show Macbeth attempting to summon his courage one last time
before he hears news of the Queen’s death. Paradoxically, in his final
aria “Pietà, rispetto, amore” (“Compassion, honor,
love”) Hampson applies an elegance of phrasing and lyrical decoration to
give the image of Macbeth, on the point of defeat, still caught up in his
self-delusional trust in power. When he hears that he is now alone, he rushes
off to do battle against the forces of Malcolm. The final chorus of victory
declares that Macduff’s blow to Macbeth has restored trust to Scotland.
With this admirable, new production Lyric Opera of Chicago has likewise
restored Verdi’s Macbeth to it repertoire of artistic