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Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
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.