Recently in Performances
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
21 Nov 2010
Adriana Lecouvreur, Royal Opera
Two months into the current season, after a string of so-so revivals and a curiosity which deserved to be box-office dynamite but wasn’t, the Royal Opera has finally got round to a star-studded new production.
Adriana Lecouvreur being something of a rarity in the UK, having been
absent from the stage of Covent Garden for more than a century, the prospect of
Angela Gheorghiu taking on the title role for the first time was more than
enough to justify the risk — though it is perhaps a sign of the times
that it is a co-production with four other international houses, the largest
number of collaborators I can ever recall seeing in an opera programme.
If I were producing an opera about theatre and actors, David McVicar is
precisely who I would engage to direct it, given his knack for injecting
opulent theatricality into the most naturalistic of dramatic situations. And if
nobody had told me that this was one of his, it wouldn’t have been
difficult to guess. The hallmarks were all there — the vast crowd of
supernumeraries, the stage clutter, and Brigitte Reiffenstuel’s
deconstructed-Baroque dance costumes to name but a few — but this time
McVicar has gone one step, if not many steps further in the name of making a
point about the nature of theatre and artifice.
Jonas Kaufmann as Maurizio
It was heaven for a geek like me, thanks to the sheer number of references
to other shows — maybe a natural progression from the score itself. Cilea
was a contemporary of Puccini and Massenet, and most of the aural reminders are
from this milieu, but Act 4 in particular evokes a wider range of influences.
In McVicar’s staging, a balletomane friend of mine who attended the dress
rehearsal picked up on direct references (costumes and choreographic devices)
within the Act 3 ballet to Royal Ballet productions of La fille mal
gardée, Invitus Invitam and Sylvia. The chorus crowded
into their onstage audience-seating much as they did in McVicar’s
Alcina for ENO in 1999; then, a marble bust of Handel dominated the
stage; here the bust was Moliere’s. It was interesting that of all his
own works, this was the one McVicar chose to reference; another opera about the
blurred boundary between theatre and reality.
With Charles Edwards’s set dominated by a large box which for much of
the opera served as a full-height, fully-formed stage-within-a-stage, the
production seemed determined to underline that we were the audience, and what
was happening before us was not reality. The mostly naturalistic scenery was
garnished with little touches of artificiality; vividly ornate interiors, for
example, were finished off not with heavy velvet draperies, but with curtains
painted onto wooden flats. Even Act 2, whose stage directions contain no overt
references to a theatrical setting, appeared to be taking place on a stage,
with the men in particular giving a stylised feel to their entrances and exits.
Only in Act 4 was this extra level of artifice dispensed with; though the
spectre of the stage continued to loom large over Adriana, it was a bare shell,
and suddenly (the ludicrous business of the poisoned violets notwithstanding)
it was all a lot more immediate and credible.
So what of the much-hyped cast? Gheorghiu may not be an immediately obvious
‘humble handmaid of art’ but she was poised and charming, playing a
very youthful version of this heroine who historically has been associated with
the ageing diva. Her voice is very much on the small side given the scoring,
and for the intimacy of the first and last acts (which frame Adriana’s
two celebrated arias) it was often exquisite. But in the confrontation with the
Princesse de Bouillon and again in her vengeful Phèdre monologue, Gheorghiu was
a kitten when a tigress was needed. I can’t quite picture how she will
hold her own when the role of the Princesse transfers to the mighty Olga
Borodina later in the run.
Jonas Kaufmann always seemed on the edge of something spectacular, and the
contained restraint with which he treats his large, dark-coloured voice would
have been massively exciting had it been part of a broad palette. As it was, he
seemed to be trying to demonstrate that a hot-blooded verismo hero can be sung
with subtlety and intelligence, while also showing off some of his remarkable
technical skill (particularly in his legato, and once, memorably, his
impeccable ability to diminuendo on a top note). It was very, very impressive
— but all too careful, too measured. It seemed a studied effort in
avoiding stereotype (or perhaps he was reining himself in to avoid overpowering
Gheorghiu) but I longed for him to let rip.
- Michaela Schuster as Princesse De Bouillon and Bonaventura Bottone as Abbé De Chazeuil
Michaela Schuster was a dramatically-committed if somewhat vocally
undisciplined Princesse, though it was a misjudgement (probably the
director’s) to have her exchange with Adriana in Act 3 played partly for
laughs, which diminished the impact. Alone among the major principals,
Alessandro Corbelli — as Adriana’s unrequited admirer, Michonnet
— was alone in painting a full and touching character portrait.
Much of the interest, and there was plenty, came from the supporting
characters. Janis Kelly (Mlle. Jouvenot) and Sarah Castle (Mlle. Dangeville)
sparked off one another in Act 1 in an impeccably-judged battle of wills;
Bonaventura Bottone (the Abbé de Chazueil) and Maurizio Muraro (the Prince de
Bouillon) gave nicely-detailed character portraits in a production which made
them quite stylised and more than a little camp.
Mark Elder’s conducting displayed many of the same characteristics as
Kaufmann’s singing — lovely, delicate, but for this repertoire far
too careful and finely-crafted. On opening night the Gheorghiu and Kaufmann
fans were out in force, with every aria met with cheers. But for me, a bit less
decorum and a lot more scenery-chewing, both on stage and in the pit, would
have served the opera better, and improved a promising performance in a
lovingly-crafted production immeasurably.
Ruth Elleson © 2010