Recently in Performances
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on
Friday night was the latest in the Coliseum’s recent run of new and
co-produced productions, and also renowned director Peter Jones’ latest foray
into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the
same arts festival in Coventry for which Britten’s War Requiem was
written and in fact the two works have something in common, dealing with the
issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s
Die Fledermaus several debuts are notable to both American and Chicago
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera
House risks laying the house’s Director of Opera open to charges of
antiquated mores and misogyny: for he seems to suggest that the women are just
as bad, if not worse, than their seducer — and that a soulful man who seeks
genuine love is likely to find his ‘ideal beloved’ forever out of reach.
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
If satire is your thing you will not want to miss this opera about human testicles grafted onto a dog.
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.