Recently in Performances
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.
An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera
Handel’s genius is central focus to the new staging of Handel’s oratorio Theodora at Paris' Théâtre des Champs-Élysées.
1985 must have been a good year for founding a musical ensemble, or festival or organisation, which would have longevity.
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.