Recently in Performances
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
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
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).
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.
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.
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.
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.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
31 Dec 2010
Pelléas et Mélisande, New York
Pelléas et Mélisande, Debussy’s impressionist drama closely
based on Maeterlinck’s eerie, symbolist play, is not a terribly vocal opera; it calls more for the subtlety of art song style than the belting of great divas and divos.
Therefore it makes me a bit uneasy to report
that the latest Met revival features the best all-around cast the company has
fielded (theatered?) all season, nearly flawless from top to bottom, no one
vocally out of her or his league, everyone suited to the scale of the work and
to singing it at the Met—at least when Simon Rattle is in the pit,
keeping the evening in flawless balance.
Magdalena Kožená as Mélisande, Gerald Finley as Golaud and Willard White as Arkel
Jonathan Miller’s production removes Maeterlinck’s tragedy from
the mystical, pre-Raphaelite mists in which the playwright set it to a definite
location: an English country house in the Merchant-Ivory style. Miller’s
feeling seems to be that we have forgotten the once-upon-a kingdoms of fairy
tale, that we nowadays have similar half-sensual half- memories related to the
forgotten refinements and restraints of the turn of the century world. This
does not always fail of its proper effect, though killing with broadswords
seems a little strange. I do not quite understand why Mélisande, first
discovered in a Jungian wood far from the rest of the action, weeping into a
forest pool, is already within the walls of the house. Surely her tragedy, in
part, is that she begins and remains an outsider? For Miller, evidently,
“Allemond,” the name of Arkel’s kingdom, is truly
all-the-world, and just as there is no place to flee, there is no outside for
Mélisande to have come from.
The singers, an extraordinary ensemble, perform with sensitivity and grace.
Every sound they make is musically grateful and lulls one into the texture of
Debussy’s tone poem. Stéphane Degout’s ardent Pelléas is nicely
contrasted with Gerald Finley’s agonized and menacing Golaud. Willard
White and Felicity Palmer give moving performances as the helpless elders Arkel
and Geneviève. Neel Ram Narajan’s boy soprano reaches all the notes with
perfect support and has no trouble filling the house. He is often called upon
to “witness” the actions of the incomprehensible adults, and he
acts bravely. (In one clever Miller touch, Yniold’s scene with the
Shepherd becomes a nightmare, sing in bed.)
Magdalena Koženà as Mélisande and Stéphane Degout as Pelléas
The one member of the cast who did not seem quite acclimatized with the
rest, perhaps appropriately, was Lady Rattle, Magdalena Koženà, who sang
Mélisande, that quintessential outsider. It was easy to put her accented French
down to the character’s foreignness; this did not bother me at all. More
awkward was her air of conscious coquetry, of flirting with Pélleas, of
manipulating those about her. This is not appropriate to Mélisande
whose innocence is precisely the keynote of her character. Koženà stares,
as required, at the actions of others, but her stare does not seem to imply
wonder or puzzle; simply a languid lack of interest. Innocence is a commodity
that Maeterlinck’s admirers longed for, missing their pre-Freudian,
pre-Darwinian youth perhaps; if we can no longer believe in it, we still must
have a Mélisande who incarnates it to perform the opera properly.
The hero of the evening, shining despite the brilliance of so extraordinary
a group of singers, was conductor Sir Simon Rattle in his Met debut. His
Pelléas et Mélisande was of so measured a pace that the moments of
rising tension, imminent violence, came upon us with an almost shocking
suddenness and, as the stage action remained calm, tied us more closely to the
internal states that the score tends to paint in any case. His sureness and
lightness of touch permitted the singers to project conversationally without
any strain or push. He brought us to our feet.