Recently in Performances
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
24 Jan 2011
Nabucco, Palm Beach Opera
Appearing on Palm Beach Opera’s website video player General Director
Daniel Biaggi points out among the reasons to attend the first show of the
company’s 2010-2011 season, “fantastic artists whose voices will
blow you away.”
Biaggi’s claim is no folderol; each principal in
PBO’s Nabucco (seen opening night December 10) offered a
performance of individual value, with the balance of the night’s success
tipping aptly on Mark Rucker’s Nabucco and on the playing of the Palm
Beach Opera Orchestra with principal conductor and artistic director Bruno
Aprea on the podium.
Mark Rucker presented fluent Verdi style, adding — of late —
further finesse to a cantabile line that already made him a notable
exponent of the style and period. The power-addled king’s delusions of
Acts II and III were conveyed in Rucker’s singing — fashioned with
portamento and diminuendos; he hit his stride vocally and
dramatically with a ‘Dio di Giuda’ both meditative and
conciliatory. This night’s Abigaille, Paoletta Marrocu, in her moments on
vocal spotlight made most of an impression with an often rich middle register
— mellifluously delivered in the more lyrical passages of ‘Anch'io
dischiuso un giorno.’ In between some hard, go-for-broke, high notes and
her seemingly unabashed use of discernible register breaks for dramatic effect,
Ms. Marrocu spun accurately articulated scales and rapped out the text with
Showing off an even bel canto line — that touched the F sharp
in his cabaletta — and a sizable, fleet instrument was bass
Dmitry Belosselskliy (Zaccaria). Laura Vlasak Nolen (Fenena) displayed fine
stage sense in the final act prayer, where she and Aprea collaborated with
Verdian strokes of refined rubato. Adam Diegel owns a large instrument
with lyric attributes that made short work of Ismaele’s lines. As the
High Priest of Baal, Harold Wilson brought a knowing gait and a fine bass. Palm
Beach Young Artists Evanivaldo Correa and Alison Bates did right by the roles
of Abdallo and Anna.
Grave majesty was missing from the opening of Nabucco’s
overture; once to the livelier section though, the playing of the orchestra
turned altogether superlative. Aprea’s conducting strikes as being
attentive and open to various facets of artistic nuance. In the overture, there
was a cohesive vitality that held through bouncy and bold and light and lyrical
passages with well-executed string and woodwind playing. Verdi’s markings
were honored to the end; and, in the manner of, Aprea was keen to push on or
allow singers rhythmic room as necessary. Both the orchestra and the Palm Beach
Opera Chorus reached a level of musical gravitas in ‘Immenso
Paoletta Marrocu as Abigaille
Stage director Guy Montavon and chorus were doubtless challenged by set
pieces (credit given to Opera de Montreal) with compact stage space. Though
conceptually beautiful, the Temple — swept in purifying soft shades of
blue, a motif for the sets — seemed randomly besieged by congregants. To
Montavon’s credit, the varying presence of Doric columns on a stage-wide
platform with stairs leading to two landings left little room downstage and
only a few feet from the pit to work with. Of “special mention”
quality is the lighting of David Gano — faintly fading across wide gulfs
of the color spectrum is analogous to mystifying and winding dramaturgical
currents in Act II.