Recently in Performances
This may be the twelfth revival of Jonathan Miller’s 1987production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
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.