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Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
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.