Recently in Performances
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
03 Dec 2010
Midsummer Night’s Dream, Lyric Opera of Chicago
In a seamless realization with an ideal cast Lyric Opera of Chicago celebrates the magical antics and foibles of both human and fairy in its premiere production of Benjamin Britten’s Midsummer Night’s Dream.
From the first sounds of the string introduction to the final leap
of Puck into a stage gone dark not a moment of Britten’s score is
neglected in a well-thought match of music and drama. Leading the realm of
fairies as King and Queen David Daniels sings the role of Oberon and Anna
Christy that of Tytania. The mortal lovers who interact with the figures of the
other world and play out their own sets of problems are performed by Elizabeth
DeShong and Shawn Mathey as Hermia and Lysander, and by Erin Wall and Lucas
Meachem as Helena and Demetrius. The amateur group of actors, led by the Bottom
of Peter Rose, works well as an ensemble in this production and gives yet a
third dimension to the strivings and complications of the personalities
enmeshed in supernatural and human squabbles. In a significant debut at Lyric
Opera, Rory Macdonald conducts the score as a moving canvas with the varying
elements coalescing into a unified whole.
Elizabeth DeShong as Hermia and Shawn Mathey as Lysander
In this production, where successive locales and scenes in the forest drift
from one to another, the first two acts are performed as a continuum without
intermission. Once the orchestral introduction begins, the wavering string
themes are paired by an undulating sash hanging across the stage bathed in an
aqua light. The sash will also move vertically during individual scenes to
envelop and to reveal characters and their entanglements. Around the sides of
the stage cloth panels in shades of woodland green are occasionally
illuminated, so that the fairies’ movements are witnessed as if through
an arbor. At the opening those fairies, performed by the Anima-Young Singers of
Greater Chicago, welcome Robin Goodfellow, or Puck. This speaking role, played
throughout the production with great physical and thespian agility by Esteban
Andres Cruz, leads now into the arrival of Oberon and Tytania. As both give
vent to their disagreement over supervision of an Indian boy, the vocal
embellishments so effectively employed by Ms. Christy and Mr. Daniels mirror
their growing agitation. The words “Spring” and
“Summer” receive such decoration followed by Ms. Christy’s
downward runs on the word “mortal,” when she describes the Indian
boy’s heritage. Mr. Daniels sings the countertenor part of Oberon with
graceful ease, especially impressive and secure as he moves toward middle and
low notes and layers these with dramatic import. Once the Queen departs, Oberon
negotiates with Puck on finding an herb with magical properties to be used
against Tytania. The suspended basket in which Oberon has delivered his royal
instruction moves upward, so that the empty stage can welcome the mortals
Lucas Meachem as Demetrius and Erin Wall as Helena
In their roles as the young lovers the two pairs appear — as distinct
from the otherworldly characters in the forest — in casual dress
reminiscent of the 1950s. Both pairs are distraught on varying grounds.
Lysander and Hermia form a vocal unity against the court which stands in
opposition to their love. In this, Ms. DeShong and Mr. Mathey express their
affection with pathos and sincerity in the duet with repeated “I swear to
thee.” Their plans are, at first, as neatly arranged as this vocal
harmony. This initial set of lovers gives way to Demetrius and Helena,
Demetrius in pursuit of Hermia yet himself being pursued by Helena. Once Oberon
witnesses the agitated relationship of the second pair, he resolves to
intercede and cause Demetrius to return the love of Helena by having Puck drop
essence of the magic herb in the man’s eye. In his aria “Welcome
Wanderer” Mr. Daniels sings lush, varying scales on
“eglantine” when describing to Puck both the plan for Demetrius and
his intentions for Tytania. After an interlude in which the rustic players
march through the forest and announce their forthcoming comedy of Pyramus
and Thisbe both pairs of lovers return. At first Lysander and Hermia
exchange emotional vows, Mr Mathey communicating his devotion with touchingly
expressive high notes. Puck distributes the herb to the wrong man, so that
Lysander transfers his affections to Helena who immediately takes flight. Once
the stage is again cleared of the lovers, Tytania enters accompanied by her
fairies, whom Ms. Christy addresses with ardorous melismas sung on
“quaint spirits.” As she falls asleep the fairy youth assigned to
guard her and the Indian boy also succumbs to slumber. Puck is able to take
away the boy and Oberon applies the magic herb to the Queen.
Highlights of confusion in the next part, corresponding to the second act,
include the further rehearsals of the actors and the quarrels of the perplexed
and divided lovers. When the rustics confront Bottom who has been turned into
an ass by the amused Puck, they scatter in fear. Both groups of lovers re-enter
and argue fiercely, the men exchanging fists and the women likewise hurling
insults at each other. Here Ms. Wall as Helena stands out as she sings of past
“friendship warbling of one song,” while decorating her words to
mimic a warble. In the meantime Tytania has fallen in love with Bottom thanks
to the machinations of Oberon and Puck with the magical herb. The Queen and her
companion sleep in her bower beneath the undulating sash as the lovers enhaust
themselves in quarrel and disappear. Oberon now scolds Puck for having
administered the herb to the wrong lover, in this production the punishment
emanating from the King’s hands as he matches movement to music. Puck is
charged with recalling the lovers individually and with releasing Lysander by a
further dose of the herb. As the act closes, the lovers all sleep and Tytania
remains enamored of Bottom in her dream.
Anna Christy as Tytania and Peter Rose as Bottom
The final act in its two scenes sets the fairy rulers and the earthly lovers
once again “in amity.” As a means of celebrating by public event
the rustics ultimately perform their play before the royalty of Athens and
weddings ensue. In the first scene Tytania awakes and recounts what she
presumes to have been a dream. When Oberon directs her gaze to the sleeping
Bottom, she reacts in astonishment but is then reconciled to her King. As she
follows Oberon’s suggestion and declares “Music, ho…”
in order to foster sleep among the mortals, Ms. Christy’s voice gleams in
decorative gesture just as Bottom is again restored to human form. Once the
lovers awake, Demetrius is able to declare that he has “found fair Helena
like a jewel,” hence preparing for an amicable resolution among the four.
Mr. Meachem’s pronouncement is signaled by imbuing his voice with a warm,
lyrical tone as he sings together with the others in a harmonious round. Both
pairs are forgiven by the royal couple Theseus and Hippolyta as they prepare to
watch, in the final scene, the performance of Pyramus and Thisbe
enacted by the rustic players. Members of the Ryan Opera Center together with
Mr. Rose present a believably bumbling rendition of the play in costumes
matched to the parts they inhabit. All now married retire to sleep, as Puck
delivers the final words of apology, that “Robin shall restore
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