Recently in Performances
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
Beat Furrer's FAMA came to London at last, with the London Sinfonietta. The piece was hailed as "a miracle" at its premiere at Donaueschingen in 2005 by Die Zeit: State of the Art New Music, recognized by mainstream media, which proves that there is a market for contemporary music lies with lively audiences
Franz Schreker Die Gezeichneten from the Opéra de Lyon last year, now on arte.tv and Opera Platform. The translation, "The stigmatized", doesn't convey the impact of the original title, which is closer to"The Cursed".
Semper Dowland, semper dolens (Always Dowland, always doleful) was the title chosen by John Dowland’s for one of his consort pieces and the motto that he took for himself. Twice rejected for the position of musician at the court of Queen Elizabeth, he is reputed to have been a difficult, embittered man. Melancholy songs were the fashion of the day, but Dowland clearly knew dark days of depression first hand.
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.