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A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
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.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
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.
31 Dec 2010
Aida at Bregenz Festival 2009
Some years ago a witty soul coined the term “jumping the shark” to identify the point at which any long-running television program had exploited all its innate story/character development possibilities and had to resort to ridiculous plot contrivances and spectacle to keep the episodes — and paychecks — coming.
For the curious, “jumping the shark” referenced an episode of Happy Days, a program that for years stayed within the confines of a small American town in the 1950s; in said episode, the characters ended up in Hollywood and one entered a contest to — yes, indeed — water-ski over an enclosure containing a shark.
If one thinks of the Bregenz Festival as a long-running hit show — and in the opera world, this lake-side venue for elaborate outdoor productions can fairly be called such — then with the 2009 Graham Vick Aida, the festival has indeed “jumped the shark.” The booklet essay (by Kenneth Chalmers) to the DVD set quotes many a laudatory blurb from various European reviews at the time of the show’s premiere. So maybe the experience on DVD can’t capture what the show is like live. As caught by cameras, Vick’s Aida is a frenetic mess — whether the action takes place in ankle-deep water, aloft in crane-elevated cages, boats, or fragmentary statuary, or on an endless flight of stairs. The success of the festival undoubtedly offers directors an ample budget, and the very nature of the lakeside venue demands big effects. But when an opera gets as hopelessly lost as Aida does here in all the pyrotechnics and staging conceits piled on the stage — and despite the authentic opportunities for spectacle in the libretto, at its heart this is a fairly intimate story of thwarted love — the “shark” has been “jumped.”
With the amazing work of set and costume designer Paul Brown, Vick presents a world with no set sense of time or place, mixing ancient and modern elements. Costumes are primarily contemporary, through with some elusive sense of logic; the priests, for example, wear papal miters. At the rear of the stage two huge blue feet, spangled with stars, have a vaguely period Egyptian look, as do other fragments apparently broken off the original monument, but the whole is clearly modeled on the Statue of Liberty. It’s a very Euro-friendly concept — America as subtext for militaristic oppression. Thus Amneris, who often wears a dress with stars spangled on it, appears at first with two leashes, at the ends of which are two prisoners with hoods over their heads. Why Amneris has been assigned Abu Ghirab prisoner-walking duty doesn’t have to be contemplated — just go with the anti-American flow. Aida is truly a slave here — not a higher-ranking attendant to the princess, as she is usually depicted. Wearing a dull jacket over a orange-red shift, she is washing the stairs with others slaves when first seen. Radames sings his opening confrontation with Amneris from yards away, and many of the key scenes have a similar distance between protagonists and antagonists, weakening the force of their interactions. In act three, when Aida is confronted by her father, he appears from the water before the stage, like the Creature from the Red Sea Lagoon. It’s all like the famous description of the staging of Meyerbeer’s operas — effects without causes.
The color scheme Vick and Brown work with may blind those sensitive to one end of the spectrum — from hot pinks to emergency beacon orange and onto purple and turquoise. The dancers spend a lot of time kicking up spray on a platform covered in about a foot of water. For act two, Amneris’s attendants manhandle some amazingly buff (and mostly Caucasian) Ethiopian prisoners in tighty-whiteys. Some viewers may be ready to escape into the tomb with Radames and Aida at the end, except there is no tomb — the condemned lovers sail off into the distance through the air, in a crane-hauled boat.
For sheer spectacle, this may well be the Aida to beat — and yes, it includes a huge elephant at one point (not a live one, but still — the cranes can’t be trusted with everything). However, for those actually interested in Aida as an opera, this set can’t be recommended. Besides the score being, as the booklet essay describes it, “trimmed,” the singers get no real chance to develop interesting characters or make their own vocal qualities known. The latter is true because they are all miked. The voices of the leads appear to be lighter than those one would normally hear in a conventional opera house, and the sound mix keeps the voices within a narrow range. As Amneris Iano Tamar looks smashing, but her lower range is too weak even for the microphones. To some extent the same is true of Iain Paterson as Amonasro, although he has enough power in the body of his voice to make a decent impression. The two leads have pleasant voices but neither Rubens Pelizzari as Radames or Tatiana Serjan as Aida give any indication of having the vocal goods to tackle these roles in a production without microphones and a sound mixer standing by. Conductor Carlo Rizzi and his orchestra are surely “miked” as well, and they whip up a fine wall of sound in the ensembles and triumphal parade.
The Blu-Ray version does make for an amazing picture on any high-end television. For viewers open to a version of this opera that places 21st century stage and camera technique over the essence of the work itself, this is not a set to be missed.
For others — consider the shark successfully jumped.