Recently in Performances
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic
When Italian director Damiano Michieletto visited Covent Garden in June this year, he spiced Rossini’s Guillaume Tell with a graphic and, many felt, gratuitous rape scene that caused outrage and protest.
Verdi Giovanna d'Arco at Teatro alla Scala, Milan, starting the new season. Primas at La Scala are a state occasion, attended by the President of Italy and other dignitaries.
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.