Recently in Performances
Three years ago I made what may have been my single worst decision in a half
century of attending opera. I wasn’t paying close attention when some
conference organizers in Aix-en-Provence offered me two tickets to the premiere
of a new opera. I opted instead for what seemed like a sure thing:
William Christie conducting some Charpentier.
Advertised in the program as the first opera written in the New World,
La Púrpura de la Rosa (PR) was premiered in 1701 in Lima
(Peru), but more than the historical feat, true or not, accounts for the
The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.
Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.
As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.
Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.
Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.
That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.
Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.
This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.
John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.
On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.
Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.
It might seem churlish to complain about the BBC Proms coverage of Pierre
Boulez’s 90th anniversary. After all, there are a few performances
dotted around — although some seem rather oddly programmed, as if embarrassed
at the presence of new or newish music. (That could certainly not be claimed in
the present case.)
I recently spent four days in St. Petersburg, timed to coincide with the
annual Stars of the White Nights Festival. Yet the most memorable singing I
heard was neither at the Mariinsky Theater nor any other performance hall. It
was in the small, nearly empty church built for the last Tsar, Nicholas II, at
As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.
A brilliant theatrical event, bringing Handel’s theatre of the mind to
life on stage
‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.
Asphyxiations, atrophy by poison, assassination: in Italo Montemezzi’s
L’amore dei tre Re (The Love of the Three Kings, 1913) foul deed
follows foul deed until the corpses are piled high.
The precision of attack in the opening to Beethoven’s Creatures of Prometheus Overture signalled thoroughgoing excellence in the contribution
of the CBSO to this concert.
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.