Recently in Performances
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.
‘Mack does bad things.’ The tabloid headline that convinces Rory
Kinnear’s surly, sharp-suited Macheath that it might be time to take a
short holiday epitomizes the cold, understated menace of Rufus Norris’s
production of Simon Stephens’ new adaptation of The Threepenny
Opera at the Olivier Theatre.
03 Feb 2011
Mosheh, a VideOpera
Yoav Gal, an Israeli-born composer-in-residence at the HERE arts complex in
Manhattan’s South Village, calls Mosheh a “VideOpera,” rightly giving as much place to what is seen (electronic projections) as to what is heard (from four sopranos playing the women in the prophet’s life and an orchestra of nine musicians).
Mosheh contains most of what we’ve come to expect from new
operas in the twenty-first century: video and film, of course, and also
gamelan-derived percussive scoring, surtitles to obviate the need for a
coherent drama, and naked male bodies, in this case the non-singing title role.
(Trivia: Name other title characters who do not sing in their own opera.
There’s La Muette de Portici, of course.)
What Mosheh has that I seldom expect is respectable melody.
Miriam’s serenade to her baby brother as she places him in the Nile is an
especially lovely number; Zipporah’s harsh aria about inventing
circumcision to save her new husband from the Angel of Death is less
immediately attractive. Too, the quartet at the conclusion of the opera when
the women narrate the twelve plagues that fall upon Egypt has an eerie harmony
that calls Benjamin Britten to mind.
What Mosheh, the opera, did not have was a coherent, stageworthy
way of telling its more or less familiar story. Without some Bible reading (or
a viewing of The Ten Commandments) and surtitles, I don’t think
an audience would find the action at all clear. It is rather a costumed series
of individual scenes, all for voices of too striking a sameness. Gal writes
well for the voice, without straining the instrument as the atonal opera
composers were prone to do—because, unlike them, he has not renounced
melody as an expressive tool—also, I suspect, he has studied voice
writing and respects the instrument and its capabilities. His four well-chosen
soloists had no trouble filling HERE’s admittedly small space with
thrilling sound that never made us wince.
But because the vocalism accompanied so little action and no dialogue, the
evening never became a dramatic event, that is, an opera. Were sets and
costumes (wild costumes!) even necessary? Were the tremendously elaborate and
often beautiful projections, which led us, for example, through rows upon rows
of columns into Pharaoh’s throne room, or beside the muddy pools of the
Nile required? Is Mosheh’s presence called for by the music, or would any naked
man (a volunteer from the audience, say) do just as well? Or could we dispense
with him too?
Soprano Hai-Ting Chinn, well known among fans of New York’s odder
opera scenes (she was the Wooster Group’s splendid Didone
Abbandonata), made the most striking impression here as Miriam, acting as
well as singing her lovely music.
Heather Green as Bitia, Beth Anne Hatton as Zipporah, Judith Barnes as Yocheved and Hai-Ting Chinn as Miriam [Photo by Hunter Canning courtesy of seven17 public relations]