Recently in Performances
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
Having been privileged already to see in little over two months two great productions of Die Meistersinger, one in Paris (Stefan Herheim) and one in Munich (David Bösch), I was unable to resist the prospect of a third staging, at Glyndebourne.
01 Feb 2011
Maria Stuarda, Minnesota Opera
The 2010-2011 season for Minnesota Opera is steeped in Bel Canto
opera selections, starting with Rossini’s Cenerentola this fall, currently featuring Donizetti’s Maria Stuarda, and for the spring, a production of Verdi’s La Traviata with acclaimed Violetta, Elizabeth Futral.
The current production of Maria Stuarda is
the company’s second installment of the Donizetti Tudor trilogy, with a
production of Roberto Devereax in the 2009-2010 season.
The casting of dueling sopranos, Judith Howarth (Mary Stuart) and Brenda
Harris (Elizabeth I), was spot on. Harris’ golden soprano houses a steely
core, which captured both the warmth and terror of the strong-willed queen in
perfect balance. Her opening cavatina and cabaletta,
“Ah! quando all’ara sorgemi…Ah dal ciel discenda un raggio”
boasted incredibly fierce coloratura, and ascents into the heights of her voice
that both thrilled and terrified. Harris is clearly at home in the Bel
Canto repertoire, though her performance with Minnesota Opera was her
debut of Queen Elizabeth I in Maria Stuarda.
Michael Nyby as Lord Cecil, Elizabeth's councilor and Brenda Harris as Elizabeth I, Queen of England
Judith Howarth’s silvery, spinning soprano was a wonderful
juxtaposition to Harris’ Elizabeth. Howarth gave Maria great depth of
character, vocally with amazing vocal and dramatic finesse and flexibility. In
the finale of Act I, Howarth’s biting Italian diction and metallic high
notes struck lightning during her quarrel with Elizabeth, while her sustained
B-flat sustained over the chorus in Act III seemed to emerge out of the
Both Howarth and Harris are seasoned veterans of the Bel Canto
repertory, and both approached these women with strong and meaningful dramatic
and vocal choices. Tenor Bruch Sledge (Earl of Leicester) nailed
Donizetti’s style musically, but his overall dramatic execution of the
role paled in comparison to the two queens. Sledge was quite awkward in his Act
I duet with Howarth, not connecting to her musical phrasing or even the
dramatic conversation. His stage deportment was impotent, and the love triangle
plot became quite implausible.
Victoria Vargas’ Anne sparked with complete ease in the coloratura and
line, and infused a fullness and warmth that easily cut through the
orchestration. This is certainly the best singing from this Resident Artist so
far this season.
Performances: Feb. 1, 3, 5, and 6 at Ordway