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On May 25, 2016, Los Angeles Opera presented a revival of the Herbert Ross production of Giacomo Puccini’s opera, La bohème. Stage director, Peter Kazaras, made use of the Dorothy Chandler Pavilion’s wide stage by setting some scenes usually seen inside the garret on the surrounding roof instead.
On May 21, 2016, Ars Minerva presented The Amazons in the Fortunate Isles (Le Amazzoni nelle Isole Fortunate), an opera consisting of a prologue and three acts by seventeenth century Venetian composer Carlo Pallavicino.
While Pegida anti-refugee demonstrations have been taking place for a while
now in Dresden, there was something noble about the Semperoper with its banners
declaring all are welcome, listing Othello, the Turk, and the hedon Papageno as
Opera houses’ neglect of Leoš Janáček remains one
of the most baffling of the many baffling aspects of the
‘repertoire’. At least three of the composer’s operas
would be perfect introductions to the art form: Jenůfa,
Katya Kabanova, or The Cunning Little Vixen would surely
hook most for life.
It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.
Die Meistersinger at the theatre in which it was premiered, on
Wagner’s birthday: an inviting prospect by any standards, still more so
given the director, conductor, and cast, still more so given the opportunity to
see three different productions within little more than a couple of
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
07 Oct 2010
Bizet Les Pêcheurs de Perles - Royal Opera House
Bizet’s Les Pêcheurs de Perles is notoriously hard to stage. Because the plot’s so grandiose, the imagination works overtime, dwarfing the music, making it seem puny in comparison. There’s a lot to be said in favour of concert performances because they shift the balance back to Bizet.
What was striking in this performance of Les Pêcheurs de Perles (Pearl Fishers) at the Royal Opera House was how delicate much of Bizet’s writing really is. It doesn’t jump up and grab you like the tunes from Carmen. Bizet knew little about India or Indian music but in his imagination, the exoticism signaled refinement. A petit Trianon East, perhaps, charming, but as authentic as 18th century “oriental” wallpaper. Since we nowadays know more of the reality, which affects our response to Bizet’s watercolours.
Dispense with the “orientalism” and think of Les Pêcheurs de Perles as French fantasy, and the opera falls into perspective. Kings and Priests dominate because peasants are superstitious, and think Holy Virgins will protect them. When the chorus sings of Brahma they could as easily be singing of Jesus. Getting away from literal images allows the music to make sense on its own terms.
Antonio Pappano was wise to let this music breathe. Over-expansive gestures are best left to the histrionic narrative. Bizet imagines India in delicate, refined string textures, flute trills and gently beaten cymbals. Crescendi build up like swells in the ocean, diminuendos evoking refinement and submission. Lovely bell-like miniatures throughout evoking an idea of the East as perfumed and flower strewn as a church in France on a holy day. There’s more drama in this music than the opera is given credit for. Pappano elucidates what’s there, without pushing it past its limits. The delicacy of the playing let themes, such as those from the “big number”, resurface elusively throughout the opera, sometimes so subtle they can be overpowered by being made too obvious..
The Royal Opera House orchestra deserve more appreciation than they get, so it was good to see them on stage rather than hidden in the pit. Seeing the bare structure of the stage was instructive, too, a reminder of just how much art goes into making the fantasy of opera.
Leila is a part almost tailor-made for Nicola Cabell. She’s exquisite, and swathed in sapphire satin creates a character even before she sings. Pretty singing too., but the role, despite its charm doesn’t lend itself to great displays of passion. John Osborne’s Nadir was assertive and lucidly clear in the true French manner. His aria “Je crois entendre encore”, was beautifully shaped and balanced, the orchestra poised around it nicely, so it did feel “caché sous les palmiers.”
The duet “Au fond du temple saint” was very well realized by Osborne and Gerald Finley. Finley was by far the biggest name in the ensemble, however good Osborne, Cabell and Raymond Aceto’s Nourabad could be. More darkness would work better with Zurga, who is a very troubled man indeed, but Finley’s singing is so well modulated that he creates authenticity without much apparent effort.