Recently in Performances
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
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.