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One of the initiatives for the community at the Lucerne Festival is the
‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber
music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
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.