Recently in Performances
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
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.