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For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
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.