Recently in Performances
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
06 Feb 2011
Les Contes d’Hoffmann, Florida Grand Opera
If you are ever lucky enough to have the opportunity to catch a great exponent of just one of two major roles — the heroines or villains — in Offenbach’s Les Contes d’Hoffmann, you should secure a seat maintenant.
If both of those roles are taken up by such
the rarified performer, it would behoove you to stage a sit-in at the box
office. Florida Grand Opera can boast to the latter situation with its
production of Hoffmann (seen opening night, January 22).
The detail in three of Bradley Garvin’s four villains, each with
oodles of personal stamp, made it easy to forget that he has taken the roles up
only 15 times, covering them at the Met last season. This was the
bass-baritione’s FGO debut. Lindorf was a less developed, more ambiguous
character for Garvin — a bother for certain, probably not evil incarnate.
By turns, Garvin’s Dr. Miracle was cruelly insinuating and, knowing
Antonia’s heart, ruthlessly played on her weaknesses. Garvin’s
transformation included a more backward vocal placement and an eerie French
brogue, adding a backward leaning stance and the creepy pointing of bony
digits; this Dr. Miracle exorcised the living force within Antonia with quiet
David Pomeroy as Hoffmann and Katherine Rohrer as The Muse/Nicklausse
In Elizabeth Futral’s first essaying of the four heroines, her
greatest challenge may well be making a believable woman-as-object out of
Olympia in a production that plays up the phantasmagorical in Offenbach’s
story. Olympia’s costume is a cumbersome cubed-patterned dress, with an
exaggerated petticoat that gives way to a box and keyhole — her cranking
mechanism. Futral darkened her voice, her word texturing the stuff of magic
itself, as she became a helpless and aimless Antonia, on breakneck course to
lose her soul.
Hoffmann was the role of David Pomeroy’s Metropolitan Opera debut in
2009 and the Canadian tenor did many things right in his opera debut with FGO.
The tale of the dwarf Kleinzach was finished well, his singing in the duet with
Antonia was impassioned, and by the epilogue, Pomeroy had plenty in reserve to
return to the final revelation of the Kleinzach legend. His voice is a husky
one that he covers or not at will below the passagio — this is Hoffmann
as a bit of a brute.
In another company debut, Conductor Lucy Arner seemed at home in the French
Romantic repertoire. Arner’s keen sense of tempi and firm hand made
rhythmic timing with singers — one of Hoffmann’s musical moguls
— look easy. The type of delicate instrument playing elicited for
Nicklausse’s short solo in Antonia’s Act reminded that the
conductor has extensive experience in chamber music. Katherine Rohrer (The
Muse/Nicklausse) is a real sprite, most memorable in the latter song and in
serially mocking Hoffmann’s attraction for Olympia. Matthew Dibattista
took on Offenbach, Cochenille, Frantz and Pitchinaccio, carrying on especially
heartily in Frantz’s aria. Phillip Skinner made both Luther and Crespel
relevant. FGO was rewarded by entrusting the roles of Henri Meilhac, Wolframm,
and Schlemil to Young Artist Craig Colclouch. Other Young Artists that
acquitted themselves favorably were James Barbato (Wilhelm), Jonathan G.Michie
(Hermann), Daniel Shirley (Nathanail); Young Artist Courtney McKeown’s
assignment as Antonia’s mother is rather unorthodox here, from the inside
of a huge male action figure, she moved the thing about as she sang.
Elizabeth Futral as Antonia, Bradley Garvin as Dr. Miracle and Courtney McKeown as Antonia’s mother
This joint production of Opera Colorado, Opera Theatre of Saint Louis and
Boston Lyric Opera emphasizes the “dreamlike” over the cerebral in
Hoffmann’s tales. It was as if Andre Barbe (sets and costumes) and Guy
Simard (lighting) heaved mixed chunks of Willy Wonka and Dr.
Who on the Olympia and Giulietta Acts. A stage-sized screen with sliding
doors opens to an Offenbach shrine in gold in the middle of Spalanzani’s
workshop. Lime green lab coats and garbage-pail-inspired robots are the stuff
at the workshop and serpentine seahorse headdresses, and rolling staircase
gondolas, a nod to the ‘Barcarolle’ and Venice. If M.C. Escher
etching look-a-likes behind the doors in each act seemed out of place, they did
much to draw the eye downstage. Renaud Doucet’s meticulous consideration
of blocking and movement — each person, down to the last super, had a
place to be and executed some purposeful action — was total. Lastly,
FGO’s ensemble singing overall was as good as it has been since 2005 and
John Keene’s chorus put on a performance of all-around distinction.