Recently in Performances
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.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
01 Nov 2010
Cervantino stages rare Graun opera — The Mexican national opera?
Clearly, there isn’t one. Yet, Carl Heinrich Graun’s 1755
rarely-performed Montezuma is of special importance in a country
celebrating 200 years of Independence from Spanish rule and 100 years since the
Revolution that ultimately toppled dictator Porfirio Díaz.
was thus an obvious choice as the operatic centerpiece of the 2010
International Cervantino Festival, staged in Guanajuato, a major station on the
march to Mexican freedom that began in 1810.
Although he was his contemporary, Graun was no Handel, and thus
Montezuma, even when performed with the dedication obvious in the
production seen in the historic Teatro Juárez on October 14, is more
conversation piece than masterwork. The libretto by Graun’s employer,
Prussia’s music-loving, flute-playing Frederick the Great, was performed
in Guanajuato in Italian translation.
Christophe Carré countertenor as Panfilo de Narvaes
The somewhat simplistic plot reflects Frederick’s desire to be seen as
an apostle of the Enlightenment — despite his own absolute power.
Montezuma is an embodiment of the monarch’s philosophical
leaning vis-à-vis the Noble Savage. (Recall that this is also the age of
Jean-Jacques Rousseau, with Voltaire being in residence at Frederick’s
Mexico’s opera Wunderkind Claudio Valdés Kuri brought all the
excesses of Regietheater to the minimalist staging, trying too hard to
make more of Montezuma than is really there. Intent of fitting the
work into the theme of the season, Kuri employed all the techniques of
Brechtian alienation to combine in the production a picture of Mexico’s
inhuman suffering with a vision of hope for the future. Thus in the title role
countertenor Flavio Oliver frequently swapped Aztec loin cloth with T-shirt,
and in Act III Kuri changed the entire 26-member Elyma Ensemble, an able but
undistinguished early-music group, into “civvies” and moved them
onto the stage. This act concluded not with Graun’s original score, but
with a dramatic scene by Mexican Baroque composer Manuel de Sumaya. As
Montezuma died, half the stage was wrapped in a modern Mexican flag. The
substituted finale seemed to suggest an eventual and successful synthesis of
cultures. Yet one wondered— to cite only one from many examples—
whether Cortés on-stage rape of heroic Montezuma did not detract from the
figurative rape of ancient Mexico that is the true subject of the Graun’s
Oliver, by far the finest voice— and actor— in the cast, was a
virile Montezuma in the minimalist staging, designed by Herman Sorgeloos. As
conqueror Cortés Adrian’s George Popescu, an equally able countertenor,
was the embodiment of the Absolute Evil that brought about the end of Aztec
As Montezuma’s mate, soprano Lourdes Ambriz grew in stature as she
suffered ever-greater abuse throughout the performance. She made her lament in
Act III a memorable moment in an otherwise often tedious evening of opera.
Without distorting the figure, Kuri took advantage of Ambriz’ talent to
bring a hint of feminist thought to the production. Gratefully, Kuri trimmed
his staging to three hours from the original four. It was also to Kuri’s
credit that he corrected Frederick’s idealist picture of Montezuma with
an opening scene that showed that his hands too were soiled with the blood of
A co-commission Germany’s Theater der Welt and the Edinburgh Festival
(it was staged by both earlier this year), the Cervantino, Madrid’s
Teatro, where it recently played. It is yet to be seen in Mexico City.